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and
Demetrius and Titus' amputation take place off stage. A significant change in the first scene, and one with major implications for the rest of the play, is that prior to the sacrifice of Alarbus, it is revealed that several years previously, Tamora had one of Titus' sons in captivity and refused to show him clemency despite Titus' pleas. Aaron has a much larger role in Ravenscroft than in Shakespeare, especially in Act 1, where lines originally assigned to Demetrius and Tamora are given to him. Tamora does not give birth during the action, but earlier, with the baby secretly kept by a nurse. To maintain the secret, Aaron kills the nurse, and it is the nurse's husband, not Lucius, who captures Aaron as he leaves Rome with the child. Additionally, Lucius' army is not composed of Goths, but of Roman centurions loyal to the Andronici. The last act is also considerably longer; Tamora and Saturninus both have lengthy speeches after their fatal stabbings. Tamora asks for her child to be brought to her, but she stabs it immediately upon receiving it. Aaron laments that Tamora has now outdone him in evil; "She has out-done me in my own Art –/Out-done me in Murder – Kille'd her own Child./Give it me – I'le eat it." He is burned alive as the climax of the play.
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rock stars, but the
Andronici dress like Roman soldiers; some characters use chariots, some use cars and motorcycles; crossbows and swords are used alongside rifles and pistols; tanks are seen driven by soldiers in ancient Roman garb; bottled beer is seen alongside ancient amphorae of wine; microphones are used to address characters in ancient clothing. According to Taymor, this anachronistic structure was created to emphasise the timelessness of the violence in the film, to suggest that violence is universal to all humanity, at all times: "Costume, paraphernalia, horses or chariots or cars; these represent the essence of a character, as opposed to placing it in a specific time. This is a film that takes place from the year 1 to the year 2000." At the end of the film, young Lucius takes the baby and walks out of Rome; an image of hope for the future, symbolised by the rising sun in the background. Originally, the film was to end as Taymor's 1994 production had, with the implication that Lucius is going to kill Aaron's baby, but during production of the film, actor
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nurse is strangled, not stabbed; Titus' hand was never seen; blood and wounds were symbolised by red ribbons. Edward
Trostle Jones summed up the style of the production as employing "stylised distancing effects". The scene where Lavinia first appears after the rape was singled out by critics as being especially horrific, with her wounds portrayed by red streamers hanging from her wrists and mouth. Some reviewers however, found the production too beautified, making it unrealistic, with several commenting on the cleanness of Lavinia's face after her tongue has supposedly been cut out. After its hugely successful Royal Shakespeare Theatre run, the play went on tour around Europe in 1957. No video recordings of the production are known, although there are many photographs available.
3411:, Dürrenmatt altered much of the dialogue and changed elements of the plot; the fly killing scene (3.2) and the interrogation of Aaron (5.1) were removed; Titus has Aaron cut off his hand, and after he realises he has been tricked, Marcus brings Lavinia to him rather than the other way around as in the original play. Another major change is that after Aaron is presented with his love child, he flees Rome immediately, and successfully, and is never heard from again. Dürrenmatt also added a new scene, where Lucius arrives at the Goth camp and persuades their leader, Alarich, to help him. At the end of the play, after Lucius has stabbed Saturninus, but before he has given his final speech, Alarich betrays him, kills him, and orders his army to destroy Rome and kill everyone in it.
3938:(4.3.68–75). The adaptation also includes some lines from Q1 which were removed in subsequent editions; at 1.1.35 Titus' "bearing his valiant sons/in coffins from the field" continues with "and at this day,/To the Monument of that Andronicy/Done sacrifice of expiation,/And slaine the Noblest prisoner of the Gothes." These lines are usually omitted because they create a continuity problem regarding the sacrifice of Alarbus, which has not happened yet in the text. However, Howell got around this problem by beginning the play at 1.1.64 – the entrance of Titus. Then, at 1.1.168, after the sacrifice of Alarbus, lines 1.1.1 to 1.1.63 (the introductions of Bassianus and Saturninus) take place, thus Titus' reference to Alarbus' sacrifice makes chronological sense.
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in the capture of Chiron and
Demetrius; he is present throughout the final scene. Much as Julie Taymor would do in her 1999 filmic adaptation, Howell set Young Lucius as the centre of the production to prompt the question "What are we doing to the children?" At the end of the play, as Lucius delivers his final speech, the camera stays on Young Lucius rather than his father, who is in the far background and out of focus, as he stares in horror at the coffin of Aaron's child (which has been killed off-screen). Thus the production became "in part about a boy's reaction to murder and mutilation. We see him losing his innocence and being drawn into this adventure of revenge; yet, at the end we perceive that he retains the capacity for compassion and sympathy."
1379:), and it forms the basis for most modern editions of the play. Q2 appears to be based on a damaged copy of Q1, as it is missing a number of lines which are replaced by what appear to be guess work on the part of the compositor. This is especially noticeable at the end of the play where four lines of dialogue have been added to Lucius' closing speech; "See justice done on Aaron, that damned Moor,/By whom our heavy haps had their beginning;/Then afterwards to order well the state,/That like events may ne'er it ruinate." Scholars tend to assume that when the compositor got to the last page and saw the damage, he presumed some lines were missing, when in fact none were. Q2 was considered the control text until 1904, when the copy of Q1 now at the
3709:. Directed by Johnson, the piece starred Francis Van Wetering as Titus, Alexandra Cirves as Tamora, Roger Casey as Aaron (aka The Evil Black Guy) and Lauren Huyett as Lavinia. Staged as a farce, the production included moments such as Lavinia singing a song entitled "At least I can still sing" after having her hands cut off, but as she reaches the finale, Chiron and Demetrius return and cut out her tongue; Lucius is portrayed as a homosexual in love with Saturninus, and everyone knows except Titus; Titus kills Mutius not because he defies him, but because he discovers that Mutius wants to be a tap dancer instead of a soldier; Bassianus is a transvestite; Saturninus is addicted to prescription medication; and Tamora is a
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3633:, from an original script by Cancer Chong, the play had originally been staged in Hong Kong in 2009. The production took a minimalist approach and featured very little blood (after Lavinia has her hands cut off, for example, she simply wears red gloves for the rest of the play). The production features a narrator throughout, who speaks both in first person and third person, sometimes directly to the audience, sometimes to other characters on the stage. The role of the narrator alternates throughout the play, but is always performed by a member of the main cast. The production received excellent reviews, both in its original Hong Kong incarnation, and when restaged at the Globe.
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champion,/Successful in the battles that he fights,/With honour and with fortune is returned" (ll.65–68). Once Titus has arrived on stage, it is not long before he too is speaking of honour, virtue and integrity, referring to the family tomb as a "sweet cell of virtue and nobility" (l.93). After Titus chooses
Saturninus as Emperor, they praise one another's honour, with Saturninus referring to Titus' "honourable family" (ll.239) and Titus claiming "I hold me highly honoured of your grace" (ll.245). Titus then says to Tamora, "Now, madam, are you prisoner to an Emperor –/To him that for your honour and your state/Will use you nobly and your followers" (ll.258–260).
3001:", which directly compares the depictions of the two Lavinias, Agnès Lafont writes of Ninagawa's production that Lavinia's appearance functions as a "visual emblem": "Bloodshed and beauty create a stark dissonance ... Distancing itself from the violence it stages thanks to 'dissonance', the production presents Lavinia onstage as if she were a painting ... Ninagawa's work distances itself from cruelty, as the spectacle of suffering is stylised. Ribbons that represent blood ... are symbolic means of filtering the aching spectacle of an abused daughter, and yet the spectacle retains its shocking potential and its power of empathy all the while intellectualizing it."
2270:'s delivery of the speech "became a deeply moving attempt to master the facts and thus to overcome the emotional shock of a previously unimagined horror. We had the sense of a suspension of time, as if the speech represented an articulation, necessarily extended in expression, of a sequence of thoughts and emotions, that might have taken no more than a second or two to flash through the character's mind, like a bad dream." Also speaking of the Warner production and Sumpter's performance, Alan C. Dessen writes "we observe Marcus, step-by-step, use his logic and Lavinia's reactions to work out what has happened, so that the spectators both see Lavinia directly
351:) tells Titus that she will grant him revenge on all of his enemies if he convinces Lucius to postpone the imminent attack on Rome. Titus agrees and sends Marcus to invite Lucius to a reconciliatory feast. Revenge then offers to invite the Emperor and Tamora as well, and is about to leave when Titus insists that Rape and Murder stay with him. When Tamora is gone, Titus has Chiron and Demetrius restrained, cuts their throats, and drains their blood into a basin held by Lavinia. Titus tells Lavinia that he will "play the cook", grind the bones of Demetrius and Chiron into powder, and bake their heads into two pies, which he will serve to their mother.
1214:. The tour was a financial failure, and the company returned to London on 28 September, financially ruined. At that point, they sold the play to Sussex's Men, who would go on to perform it on 24 January 1594 at The Rose. If one accepts this theory, it suggests a date of composition as some time in early to mid-1592. However, Jonathan Bate and Alan Hughes have argued that there is no evidence that the listing is chronological, and no precedent on other title pages for making that assumption. Additionally, a later edition of the play gives a different order of acting companies – Pembroke's Men, Derby's Men, Sussex' Men and
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is pleading with Titus that Mutius should be allowed to be buried in the family tomb, he implores, "Suffer thy brother Marcus to inter/His noble nephew here in virtue's nest,/That died in honour and
Lavinia's cause" (ll.375–377). Having reluctantly agreed to allow Mutius a royal burial, Titus then returns to the issue of how he feels his sons have turned on him and dishonoured him: "The dismall'st day is this that e'er I saw,/To be dishonoured by my sons in Rome" (ll.384–385). At this point, Marcus, Martius, Quintus and Lucius declare of the slain Mutius, "He lives in fame, that died in virtue's cause" (ll.390).
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Scythia, is a chaste though decidedly strong-minded female, and her connection with the Moor appears to be of legitimate description; her sons Chiron and
Demetrius are dutiful children, obeying the behests of their mother. Thus altered, Mr. Aldridge's conception of the part of Aaron is excellent – gentle and impassioned by turns; now burning with jealousy as he doubts the honour of the Queen; anon, fierce with rage, as he reflects upon the wrongs which have been done him – the murder of Alarbus and the abduction of his son; and then all tenderness and emotion in the gentler passages with his infant.
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2241:, that tragic contrast between what people once were and what they have become." Jacques Berthoud provides another theory, arguing that the speech "exhibits two qualities seldom found together: an unevasive emotional recognition of the horrors of her injuries, and the knowledge that, despite her transformation into a living grave of herself, she remains the person he knows and loves." Thus, the speech evokes Marcus's "protective identification" with her. D. J. Palmer feels that the speech is an attempt to rationalise in Marcus's own mind the sheer horror of what he is seeing;
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3770:, was directed by Lorn Richey and starred Ross Dippel as Titus, Aldrich Allen as Aaron, and Maureen Moran as Lavinia. Another straight-to-video- adaptation was made in 1998, directed by Christopher Dunne, and starring Robert Reese as Titus, Candy K. Sweet as Tamora, Lexton Raleigh as Aaron, Tom Dennis as Demitrius, with Levi David Tinker as Chiron and Amanda Gezik as Lavinia. This version enhanced the violence and increased the gore. For example, in the opening scene, Alarbus has his face skinned alive, and is then disembowelled and set on fire.
752:. That story involves a sadistic emperor named Titus who amused himself by throwing slaves to wild animals and watching them be slaughtered. However, when a slave called Andronicus is thrown to a lion, the lion lies down and embraces the man. The emperor demands to know what has happened, and Andronicus explains that he had once helped the lion by removing a thorn from its foot. Bate speculates that this story, with one character called Titus and another called Andronicus, could be why several contemporary references to the play are in the form
666:, had been having an affair with Thyestes, and he vows revenge. He asks Thyestes to return to Mycenae with his family, telling him that all past animosities are forgotten. However, when Thyestes returns, Atreus secretly kills Thyestes's sons. He cuts off their hands and heads, and cooks the rest of their bodies in a pie. At a reconciliatory feast, Atreus serves Thyestes the pie in which his sons have been baked. As Thyestes finishes his meal, Atreus produces the hands and heads, revealing to the horrified Thyestes what he has done.
2432:; "A Catalogue of part of his Ma Servants Playes as they were formally acted at the Blackfryers & now allowed of to his Ma Servants at y New Theatre." However, no other information is provided. During the late seventeenth, eighteenth and nineteenth centuries, adaptations of the play came to dominate the stage, and after the Burley performance in 1596 and the possible Blackfriars performance some time prior to 1667, there is no definite recorded performance of the Shakespearean text in England until the early twentieth century.
3172:, but all the character names are different, with the exception of Titus himself. Written in prose, the play does not feature the fly killing scene (3.2), Bassianus does not oppose Saturninus for the throne, Alarbus is absent, Quintus and Mutius are only seen after their death, many of the classical and mythological allusions have been removed; stage directions are much more elaborate, for example, in the banquet scene, Titus is described as wearing blood-soaked rags and carrying a butcher's knife dripping with blood.
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1339:, argue that "ne" could refer to a newly licensed play, which would make sense if one accepts Waith's argument that Pembroke's Men had sold the rights to Sussex's Men upon returning from their failed tour of the provinces. Foakes and Rickert also point out that "ne" could refer to a newly revised play, suggesting editing on Shakespeare's part some time in late 1593. Waith sees this suggestion as especially important insofar as John Dover Wilson and Gary Taylor have shown that the text as it exists in Q1
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and get in shape so that by the time of the performance, he weighed 240 lbs. Standing at six-foot four, his Aaron was purposely designed to be the most physically imposing character on the stage. Additionally, he was often positioned as standing on hills and tables, with the rest of the cast below him. When he appears with the Goths, he is not their prisoner, but willingly enters their camp in pursuit of his baby, the implication being that without this one weakness, he would have been invincible.
3796:, who played Lucius, convinced Taymor that Lucius was an honourable man and wouldn't go back on his word. Lisa S. Starks reads the film as a revisionist horror film and feels that Taymor is herself part of the process of twentieth century re-evaluation of the play: "In adapting a play that has traditionally evoked critical condemnation, Taymor calls into question that judgement, thereby opening up the possibility for new readings and considerations of the play within the Shakespeare canon."
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2518:. The media predicted that the production would be a massive failure, and possibly spell the end of Brook's career, but on the contrary, it was a huge commercial and critical success, with many of the reviews arguing that Brook's alterations improved Shakespeare's script (Marcus' lengthy speech upon discovering Lavinia was removed and some of the scenes in Act 4 were reorganised). Olivier in particular was singled out for his performance and for making Titus a truly sympathetic character.
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2315:. Using the example of Marcus' speech, Reese argues that the audience is disconnected from the violence through the seemingly incongruent descriptions of that violence. Such language serves to "further emphasise the artificiality of the play; in a sense, they suggest to the audience that it is hearing a poem read rather than seeing the events of that poem put into dramatic form." Gillian Kendall, however, reaches the opposite conclusion, arguing that rhetorical devices such as
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2997:, wrote "Gore is represented by swatches of red cords that tumble and trail from wounded wrists and mouths. You might think that this method had a cushioning effect. In fact it concentrates and heightens the horror." Ninagawa himself said "The violence is all there. I am just trying to express these things in a different way from any previous production." In her 2013 essay, "Mythological Reconfigurations on the Contemporary Stage: Giving a New Voice to Philomela in
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3562:, changes to the text include the rape of Lavinia being Tamora's idea instead of Aaron's; the removal of Marcus; Titus does not kill his son; he does not have his hand amputated; Chiron is much more subservient to Demetrius; Aaron is more philosophical, trying to find meaning in his acts of evil rather than simply revelling in them; Titus does not die at the end, nor does Tamora, although the play ends with Titus ordering the deaths of Tamora and Aaron.
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1202:, which usually refer to one company only, if any. If the order of the listing is chronological, as Eugene M. Waith and Jacques Berthoud, for example, believe it is, it means that Sussex's Men were the last to perform the play, suggesting it had been on stage quite some time prior to 24 January 1594. Waith hypothesises that the play originally belonged to Derby's Men, but after the closure of the London theatres on 23 June 1592 due to an outbreak of
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597:. After five years in Thrace, Procne yearns to see her sister again, so she persuades Tereus to travel to Athens and accompany Philomela back to Thrace. Tereus does so, but he soon begins to lust after Philomela. When she refuses his advances, he drags her into a forest and rapes her. He then cuts out her tongue to prevent her from telling anyone of the incident and returns to Procne, telling her that Philomela is dead. However, Philomela weaves a
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on virtually every sixteenth-century play; the claim on a title page that a play had been performed "sundry times" was an attempt by publishers to emphasise its popularity, and its absence on Q1 indicates that the play was so new, it hadn't been performed anywhere. Bate also finds significance in the fact that prior to the rape of
Lavinia, Chiron and Demetrius vow to use Bassianus' body as a pillow. Bate believes this connects the play to
2045:/Doth make your honour of his body's hue,/Spotted, detested, and abominable" (2.3.72–74). Later, after the Clown has delivered Titus' letter to Saturninus, Saturninus declares "Go, drag the villain hither by the hair./Nor age nor honour shall shape privilege" (4.4.55–56). Another example is seen outside Rome, when a Goth refers to Lucius "Whose high exploits and honourable deeds/Ingrateful Rome requites with foul contempt" (5.1.11–12).
2680:
play asked profound questions about the sustainability of
Elizabethan society, and as such, he linked the play to the contemporary period to ask the same questions of late twentieth-century England; he was "less concerned with the condition of ancient Rome than with the morality of contemporary life". In his program notes, Nunn wrote "Shakespeare's Elizabethan nightmare has become ours." He was especially interested in the theory that
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Titus, Marcus, or Titus' remaining son, Lucius, cuts off one of their hands and sends it to him. Though Marcus and Lucius are willing, Titus has his own left hand cut off by Aaron and sends it to the emperor. However, a messenger brings back
Martius's and Quintus's severed heads, along with Titus's own severed hand. Desperate for revenge, Titus orders Lucius to flee Rome and raise an army among their former enemy, the Goths.
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wander out into the auditorium. Opting for a realist presentation, the play had a warning posted in the pit "This play contains scenes which some people may find disturbing", and numerous critics noted how, after the interval at many shows, empty seats had appeared in the audience. Warner's production was considered so successful, both critically and commercially, that the RSC did not stage the play again until 2003.
3292:. Aaron was rewritten to make him the hero of the piece (played by Aldridge), the rape and mutilation of Lavinia were removed, Tamora (Queen of Scythia) became chaste and honourable, with Aaron as her friend only, and Chiron and Demetrius act only out of love for their mother. Only Saturninus is a truly evil character. Towards the end of the play, Saturninus has Aaron chained to a tree, and his baby flung into the
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booked into the studio in February and March 1984, but the strike meant it could not shoot. When the strike ended, the studio could not be used as it was being used by another production, and then when the studio became available, the RSC was using Trevor Peacock, and filming did not take place until February 1985, a year later than planned. Initially, director Jane Howell wanted to set the play in present-day
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reality into some aesthetic distance, then, Marcus' conceits dwell upon this figure that is to him both familiar and strange, fair and hideous, living body and object: this is, and is not, Lavinia. Lavinia's plight is literally unutterable ... Marcus' formal lament articulates unspeakable woes. Here and throughout the play the response to the intolerable is ritualised, in language and action, because
1976:: "And now at last, laden with honour's spoils,/Returns the good Andronicus to Rome,/Renowned Titus, flourishing in arms./Let us entreat by honour of his name/Whom worthily you would have now succeed" (ll.36–40). Marcus' reference to Titus' name is even itself an allusion to his nobility insofar as Titus' full title (Titus Pius) is an honorary epitaph which "refers to his devotion to patriotic duty".
3244:. Rich's actors had little Shakespearean experience, and Quin was soon advertised as the main attraction. In 1718, the adaptation was presented twice at Lincoln, both times with Quin as Aaron. In the 1720–1721 season, the play earned £81 with three performances. Quin became synonymous with the role of Aaron, and in 1724 he chose the adaptation as the play to be performed at his benefit.
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speech entirely. There is also a great deal of disagreement amongst critics as to the essential meaning of the speech. John Dover Wilson, for example, sees it as nothing more than a parody, Shakespeare mocking the work of his contemporaries by writing something so bad. He finds no other tonally analogous speech in all of Shakespeare, concluding it is "a bundle of ill-matched
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practical questions, such as why does Lavinia not bleed to death, why does Marcus not take her to the hospital immediately, why does Tamora not notice that the pie tastes unusual, exactly how do both Martius and Quintus manage to fall into a hole? Freedman argued that "if one wants to create a fresh emotional response to the violence, blood and multiple mutilations of
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2644:. Additionally, the violence was stylised; instead of swords and daggers, wands were used and no contact was ever made. The colour scheme was hallucinatory, changing mid-scene. Characters wore classic masks of comedy and tragedy. The slaughter in the final scene was accomplished symbolically by having each character wrapped in a red robe as they died. A narrator (
362:. Titus then kills Tamora and is immediately killed by Saturninus, who is subsequently killed by Lucius to avenge his father's death. Lucius is then proclaimed Emperor. He orders that Titus and Lavinia be laid in their family tomb, that Saturninus be given a state burial, that Tamora's body be thrown to the wild beasts outside the city, and that Aaron be
2366:. The 24 January show earned three pounds eight shillings, and the performances on 29 January and 6 February earned two pounds each, making it the most profitable play of the season. The next recorded performance was on 1 January 1596, when a troupe of London actors, possibly Chamberlain's Men, performed the play during the Christmas festivities at
3691:, after her tongue has been cut out; Saturninus and Lucius engaged in a sword fight, but both being played by the same actor; Chiron and Demetrius 'played' by a gas can and a car radio respectively; the love child being born with a black moustache. A number of critics felt that the play improved on Shakespeare's original, and several wondered what
3302:, a play written specifically for Aldridge in Dublin in 1847, was included in this adaptation. After the initial performances, Aldridge kept the play in the repertoire, and it was extremely successful at the box office and continued to be staged in England, Ireland, Scotland and Wales until at least 1857, when it received a glowing review from
3263:. The playbill had a note reading "The manager, in announcing this play, adapted by N. H. Bannister from the language of Shakespeare alone, assures the public that every expression calculated to offend the ear, has been studiously avoided, and the play is presented for their decision with full confidence that it will merit approbation." In his
3484:. Müller removed the entire first act, replacing it was a narrated introduction, and completely rewrote the final act. He described the work as "terrorist in nature", and foregrounded the violence; for example Lavinia is brutally raped on stage and Aaron takes several hacks at Titus' hand before amputating it. First performed at the
3675:, and starring Brian Colonna as Titus, Erin Rollman as Tamora (and Marcus), Hannah Duggan as both Aaron and Lavinia (when playing Aaron she wore a fake moustache), Erik Edborg as Lucius and Saturninus, and Evan Weissman as Someone Who Will Probably Die (he is killed over thirty times during the play). The piece was very much a
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should govern all, including the Emperor. As such, when Lucius reprimands Titus for slaying one of his own sons, Titus responds "Nor thou, nor he, are any sons of mine;/My sons would never so dishonour me" (l.296). Moments later, Saturninus declares to Titus "I'll trust by leisure him that mocks me once,/Thee never, nor thy
601:, in which she names Tereus as her assailant, and has it sent to Procne. The sisters meet in the forest and together plot their revenge. They kill Itys and cook his body in a pie, which Procne then serves to Tereus. During the meal, Philomela reveals herself, showing Itys' head to Tereus and telling him what they have done.
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that which has been lost", i.e. Lavinia's beauty and innocence is figuratively returned in the beauty of the language. Similarly, for Brian Vickers, "these sensual pictorial images are appropriate to Lavinia's beauty now forever destroyed. That is, they serve one of the constant functions of tragedy, to document the
1993:(ll.415–416). Then, in a surprising move, Tamora suggests to Saturninus that he should forgive Titus and his family. Saturninus is at first aghast, believing that Tamora is now dishonouring him as well; "What madam, be dishonoured openly,/And basely put it up without revenge?" (ll.442–443), to which Tamora replies,
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of the violence went too far. Many cited the final scene, where despite three onstage stabbings, not one drop of blood was visible, and the reveal of Lavinia, where she was totally bloodless despite her mutilation. This production cut Lucius' final speech and instead ended with Aaron alone on the stage as
702:, Claudius threatens the assembly with violence, and Verginius' supporters flee. Seeing that defeat is imminent, Verginius asks Claudius if he may speak to his daughter alone, to which Claudius agrees. However, Verginius stabs Verginia, determining that her death is the only way he can secure her freedom.
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For the most part, the adaptation followed Q1 exactly (and F1 for 3.2) with some minor alterations. For example, a few lines were cut from various scenes, such as Lavinia's "Ay, for these slips have made him noted long" (2.3.87), thus removing the continuity error regarding the duration of the Goths'
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butcher and smeared with Vaseline to make it gleam under the studio lighting. In an unusual design choice, Howell had the Roman populace all wear identical generic masks without mouths, so as to convey the idea that the Roman people were faceless and voiceless, as she felt the play depicted a society
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stars in the film as Edward Lionheart, who regards himself as the finest Shakespearean actor of all time. When he fails to be awarded the prestigious Critic's Circle Award for Best Actor, he sets about exacting bloody revenge on the critics who gave him poor reviews, with each act inspired by a death
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on a minimalistic set made of plywood boards. The production had a low budget and much of it was spent on huge volumes of blood that literally drenched the actors in the final scene, as Sexton said he was determined to outdo his contemporaries in terms of the amount of on-stage blood in the play. The
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Several reviews of the time made much of the manner in which each production approached the appearance of Lavinia after the rape: "At Shakespeare's Globe, the groundlings are fainting at the mutilations in Lucy Bailey's coarse but convincing production. To Stratford-upon-Avon, Yukio Ninagawa brings a
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had led to the collapse of Rome. At the end of 4.2, for example, there was an on-stage orgy, and throughout the play, supporting actors appeared in the backgrounds dancing, eating, drinking and behaving outrageously. Also in this vein, the play opened with a group of people paying homage to a waxwork
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Marcus' lament is an effort to realise a sight that taxes to the utmost the powers of understanding and utterance. The vivid conceits in which he pictures his hapless niece do not transform or depersonalise her: she is already transformed and depersonalised ... Far from being a retreat from the awful
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tendency to drift away and become absorbed in his own thoughts rather than confront the harshness of reality." Jonathan Bate however, sees the speech as more complex, arguing that it attempts to give voice to the indescribable. Bate thus sees it as an illustration of language's ability to "bring back
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Another theory is suggested by Anthony Brian Taylor, who argues simply that Marcus is babbling; "beginning with references to 'dream' and 'slumber' and ending with one to sleep, the speech is an old man's reverie; shaken by the horrible and totally unexpected spectacle before him, he has succumbed to
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In this much discussed speech, the discrepancy between the beautiful imagery and the horrific sight before us has been noted by many critics as jarring, and the speech is often severely edited or completely removed for performance; in the 1955 RSC production, for example, director Peter Brook cut the
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is not simply one of meaningless acts of random violence but rather one in which language engenders violence and violence is done to language through the distance between word and thing, between metaphor and what it represents." For example, in 3.1 when Titus asks Aaron to cut off his hand because he
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Bassianus then cites his own admiration for all of the Andronici: "Marcus Andronicus, so I do affy/In thy uprightness and integrity,/And so I love and honour thee and thine,/Thy noble brother Titus, and his sons" (ll.47–50). Upon Titus' arrival, an announcement is made: "Patron of virtue, Rome's best
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in 1999, says she was drawn to the play because she found it to be the most "relevant of Shakespeare's plays for the modern era". As she believes we live in the most violent period in history, Taymor feels that the play has acquired more relevance for us than it had for the Victorians; "it seems like
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must already have entered the repertoire of Derby's Men by the end of 1591 or the start of 1592 at the latest." Berthoud believes this places the date of composition some time in 1591. Another theory is provided by Jonathan Bate, who finds it significant that Q1 lacks the "sundry times" comment found
302:
Some time later, Marcus discovers the mutilated Lavinia and takes her to her father, who is still shocked at the accusations levelled at his sons, and upon seeing Lavinia, he is overcome with grief. Aaron then visits Titus and falsely tells him that Saturninus will spare Martius and Quintus if either
3318:
The deflowerment of Lavinia, cutting out her tongue, chopping off her hands, and the numerous decapitations which occur in the original, are wholly omitted, and a play not only presentable but actually attractive is the result. Aaron is elevated into a noble and lofty character; Tamora, the queen of
2757:
as Aaron. Campbell presented Titus in a much more sympathetic light than usual; for example, he kills Mutius by accident, pushing him so that he falls against a tree, and his refusal to allow Mutius to be buried was performed as if in a dream state. Prior to the production, Rucker had Young work out
2622:
as Aaron and Erin Martin as Lavinia. Freedman had seen Seale's production and felt it failed because it worked by "bringing into play our sense of reality in terms of detail and literal time structure". He argued that when presented realistically, the play simply does not work, as it raises too many
1577:
was taken seriously only by a handful of textual and bibliographic scholars. Readers, when they could be found, mostly regarded it as a contemptible farrago of violence and bombast, while theatrical managers treated it as either a script in need of radical rewriting, or as a show-biz opportunity for
949:
believes that all copyright to the play lapsed upon Danter's death in 1600, hence the 1602 transferral from Millington to Pavier was illegitimate unless it refers to something other than the play; i.e. the prose. Both scholars conclude that the evidence seems to imply the prose existed by early 1594
310:
baby, fathered by Aaron, which will draw Saturninus's wrath. Though Tamora wants the baby killed, Aaron kills the nurse to keep the child's race a secret and flees to raise his son among the Goths. Thereafter, Lucius, marching on Rome with an army, captures Aaron and threatens to hang the infant. In
3968:
is swindled by Scott Tenorman. Cartman tries various methods to get his money back, but Scott remains always one step ahead. He then decides to exact revenge on Scott. After numerous failed attempts, he hatches a plan which culminates in him having Scott's parents killed, the bodies of whom he then
3950:
The most significant difference from the original play concerned the character of Young Lucius, who is a much more important figure in the adaptation; he is present throughout Act 1, and retrieves the murder weapon after the death of Mutius; it is his knife which Titus uses to kill the fly; he aids
3892:
was broadcast several months after the rest of the seventh season, it was rumoured that the BBC were worried about the violence in the play and that disagreements had arisen about censorship. This was inaccurate however, as the delay was actually caused by a BBC strike in 1984. The episode had been
3791:
as Lavinia. As with Taymor's stage production, the film begins with a young boy playing with toy soldiers and being whisked away to Ancient Rome, where he assumes the character of young Lucius. A major component of the film is the mixing of the old and modern; Chiron and Demetrius dress like modern
3247:
Ravenscroft made drastic alterations to the play. He removed all of 2.2 (preparing for the hunt), 3.2 (the fly killing scene), 4.3 (firing the arrows and sending the clown to Saturninus) and 4.4 (the execution of the clown). Much of the violence was toned down; for example both the murder of Chiron
2708:
as Aaron and Domini Blithe as Lavinia. Bedford went with neither stylisation nor realism; instead the violence simply tended to happen off-stage, but everything else was realistically presented. The play received mixed reviews with some praising its restraint and others arguing that the suppression
2459:
as Lavinia. Reviews at the time praised Hayes' performance but criticised Walter's as monotonous. Atkins staged the play with a strong sense of Elizabethan theatrical authenticity, with a plain black backdrop, and a minimum of props. Critically, the production met with mixed reviews, some welcoming
1988:
haughty sons,/Confederates all to dishonour me" (ll.301–303). Subsequently, Titus cannot quite believe that Saturninus has chosen Tamora as his empress and again sees himself dishonoured; "Titus, when wert thou wont to walk alone,/Dishonoured thus and challeng'd of wrongs" (ll.340–341). When Marcus
1937:
has always had a central role in criticism of the play insofar as those who doubt Shakespeare's authorship have often pointed to the apparent deficiencies in the language as evidence of that claim. However, the quality of the language has had its defenders over the years, critics who argue that the
1539:
dressed in cap and bells." He goes on to say that if the play had been by anyone other than Shakespeare, it would have been lost and forgotten; it is only because tradition holds that Shakespeare wrote it (which Dover Wilson highly suspects) that it is remembered, not for any intrinsic qualities of
1534:
argued that it was "one of the stupidest and most uninspired plays ever written, a play in which it is incredible that Shakespeare had any hand at all, a play in which the best passages would be too highly honoured by the signature of Peele." In 1948, John Dover Wilson wrote that the play "seems to
722:
in full view of the man. The nobleman pleads with the Moor that he will do anything to save his wife, and the Moor demands he cut off his nose. The man does so, but the Moor kills the wife anyway, and the nobleman dies of shock. The Moor then flings himself from the battlements to avoid punishment.
2679:
as a vicious and maniacal Saturninus received particularly positive reviews. This production took the realistic approach and did not shirk from the more specific aspects of the violence; for example, Lavinia has trouble walking after the rape, which, it is implied, was anal rape. Nunn believed the
2040:
Although not all subsequent scenes are as heavily saturated with references to honour, nobility and virtue as is the opening, they are continually alluded to throughout the play. Other notable examples include Aaron's description of Tamora; "Upon her wit doth earthly honour wait,/And virtue stoops
1140:
too must have been extremely popular in its day, but by 1614, both plays had come to be seen as old fashioned. If Jonson is taken literally, for the play to have been between 25 and 30 years old in 1614, it must have been written between 1584 and 1589, a theory which not all scholars reject out of
286:
the following day, Aaron persuades Demetrius and Chiron to kill Bassianus so that they may rape Lavinia. They do so, throwing Bassianus's body into a pit and dragging Lavinia deep into the forest before violently raping her. To keep her from revealing what has happened, they cut out her tongue and
262:
Meanwhile, Titus refuses the offer of the throne, arguing that he is not fit to rule and instead supporting the claim of Saturninus, who then is duly elected. Saturninus tells Titus that for his first act as emperor, he will marry Titus's daughter Lavinia. Titus agrees, although Lavinia is already
4652:
See Adams (1936: 19–25) for an extensive comparison between the four versions of the play: Q1, Q2, Q3 and F1. See also the various collations to the many modern editions of the play, such as Dover Wilson (1948), Maxwell (1953), Harrison (1958), Barnet (1963, 1989 and 2005), Cross (1966 and 1977),
3230:
as Aaron. In his preface, Ravenscroft wrote "Compare the Old Play with this you'l finde that none in all that Authors Works ever receiv'd greater Alterations or Additions, the language not only Refin'd, but many Scenes entirely New: Besides most of the principal Characters heighten'd and the Plot
2965:
saw Bailey's use of realism as extremely important for the moral of the production as a whole: "violated, her hands and her tongue cruelly cut away, she stumbles into view drenched in blood, flesh dangling from her hacked wrists, moaning and keening, almost animalistic. It's the production's most
2926:
onto the back of the stage. In stark contrast to Bailey's production, theatricality was emphasised; the play begins with the company still rehearsing and getting into costume and the stage hands still putting the sets together. The production followed the 1955 Brook production in its depiction of
1983:
Even when things begin to go awry for the Andronici, each one maintains a firm grasp of his own interpretation of honour. The death of Mutius comes about because Titus and his sons have different concepts of honour; Titus feels the Emperor's desires should have precedence, his sons that Roman law
1854:
Beginning in 1948, with John Dover Wilson, many scholars have tended to favour the theory that Shakespeare and Peele collaborated in some way. Dover Wilson, for his part, believed that Shakespeare edited a play originally written by Peele. In 1957, R. F. Hill approached the issue by analysing the
953:
However, even if the prose was in existence by 1594, there is no solid evidence to suggest the order in which the play, ballad and prose were written and which served as source for which. Traditionally, the prose has been seen as the original, with the play derived from it, and the ballad derived
3941:
Another notable stylistic technique used in the adaptation is multiple addresses direct to camera. For example, Saturninus' "How well the tribune speaks to calm my thoughts" (1.1.46); Tamora's vow to slaughter the Andronici at 1.1.450–455 (thus absolving Saturninus from any involvement); Aaron's
2848:
as Lavinia. Convinced that Act 1 was by George Peele, Alexander felt he was not undermining the integrity of Shakespeare by drastically altering it; for example, Saturninus and Tamora are present throughout, they never leave the stage; there is no division between the upper and lower levels; all
2737:
as Lavinia. Met with almost universally positive reviews, Jonathan Bate regards it as the finest production of any Shakespearean play of the entire 1980s. Using a small cast, Warner had her actors address the audience from time to time throughout the play and often had actors leave the stage and
2522:
for example, wrote "the actor had thought himself into the hell of Titus; we forgot the inadequacy of the words in the spell of the projection." The production is also noted for muting the violence: Chiron and Demetrius were killed off stage; the heads of Quintus and Martius were never seen; the
1859:
in the play. Like Parrott in 1919 and Timberlake in 1931, he ultimately concluded that Peele wrote Act 1, 2.1 and 4.1, while Shakespeare wrote everything else. In 1979, Macdonald Jackson employed a rare word test, and ultimately came to an identical conclusion as Parrott, Timberlake and Hill. In
1557:
from various critical attacks it has had over the years, insisting the play is meant to be a "parody" and it is only bad "if you take it straight". He claims the uneven reactions audiences have had are a result of directors misunderstanding Shakespeare's intent, which was "mocking and exploiting
2880:
as Lavinia. Bailey focused on a realistic presentation throughout the production; for example, after her mutilation, Lavinia is covered from head to toe in blood, with her stumps crudely bandaged, and raw flesh visible beneath. So graphic was Bailey's use of realism that at several productions,
3946:
in 3.1 (ll.187–190 and 201–202); Lucius' "Now will I to the Goths and raise a power,/To be revenged on Rome and Saturnine" (3.1.298–299); Marcus' "O, heavens, can you hear a good man groan" speech (4.1.122–129); Young Lucius' asides in 4.2 (ll.6 and 8–9); Aaron's "Now to the Goths, as swift as
1992:
Other characters also become involved in the affray resulting from the disagreement among the Andronici, and they too are equally concerned with honour. After Saturninus has condemned Titus, Bassianus appeals to him, "This noble gentleman, Lord Titus here,/Is in opinion and in honour wronged"
3644:
shortly after their deaths, where they find themselves in a waiting area with Aaron as their salvation or damnation is decided upon. As they try to come to terms with their unresolved conflict, Aaron serves as a master of ceremonies, initiating a dialogue between them, leading to a series of
1633:
the play could not be performed because it could not be believed. Such is the horror of our own age, with the appalling barbarities of prison camps and resistance movements paralleling the torture and mutilation and feeding on human flesh of the play, that it has ceased to be improbable."
900:
is an entry in the Stationers' Register by the printer John Danter on 6 February 1594, where the entry "A booke intitled a Noble Roman Historye of Tytus Andronicus" is immediately followed by "Entred also vnto him, the ballad thereof". The earliest surviving copy of the ballad is in
8031:
2809:. In his production notes, which Doran co-wrote with Sher, he stated, "Surely, to be relevant, theatre must have an umbilical connection to the lives of the people watching it." One particularly controversial decision was to have the play spoken in indigenous accents rather than
3655:
and directed by George C. Wolfe, began previews at the Booth Theatre on Broadway on 11 March 2019 with an opening of 21 April 2019. The cast included Nathan Lane, Kristine Nielsen, and Julie White and involved servants tasked with cleaning up the carnage from the original play.
1718:
in 1623. As such, with what little available solid evidence suggesting that Shakespeare did indeed write the play, questions of authorship tend to focus on the perceived lack of quality in the writing, and often the play's resemblance to the work of contemporaneous dramatists.
1909:
found that scene 4.1 is in fact by Shakespeare not Peele and that the Fly Scene (3.2), present only in 1623 Folio edition, is a late addition to the play, probably made by Thomas Middleton after Shakespeare died in 1616. These findings are disputed by Darren Freebury-Jones in
1616:
we come to understand – perhaps more than by looking at any other Shakespeare play – the nature of his genius: he gave an inner awareness to passions; cruelty ceased to be merely physical. Shakespeare discovered the moral hell. He discovered heaven as well. But he remained on
1969:, continence and nobility;/But let desert in pure election shine" (ll.13–16). From this point onwards, the concept of nobility is at the heart of everything that happens. H. B. Charlton argues of this opening Act that "the standard of moral currency most in use is honour".
3947:
swallow flies,/There to dispose this treasure in mine arms,/And secretly to greet the Empress' friends" (4.2.172–174); and Tamora's "Now will I to that old Andronicus,/And temper him with all the art I have,/To pluck proud Lucius from the warlike Goths" (4.4.107–109).
2526:
The success of the Brook production seems to have provided an impetus for directors to tackle the play, and ever since 1955, there has been a steady stream of performances on the English and American stages. After Brook, the next major production came in 1967, when
3267:, Volume IV (1878), Charles Durang wrote, "Bannister ably preserved the beauties of its poetry, the intensity of its incidents, and excluded the horrors with infinite skill, yet preserved all the interest of the drama." Nothing else is known about this production.
2460:
the return of the original play to the stage, some questioning why Atkins had bothered when various adaptations were much better and still extant. Nevertheless, the play was a huge box office success, one of the most successful in the Complete Works presentation.
2358:. Although Henslowe does not specify a theatre, it was most likely The Rose. Repeated performances were staged on 28 January and 6 February. On 5 and 12 June, Henslowe recorded two further performances of the play, at the Newington Butts Theatre by the combined
1872:
However, there have always been scholars who believe that Shakespeare worked on the play alone. Many of the editors of the various twentieth century scholarly editions of the play for example, have argued against the co-authorship theory; Eugene M. Waith in his
1868:
line, and she too concluded that Peele wrote Act 1, 2.1 and 4.1. In 1996, Macdonald Jackson returned to the authorship question with a new metrical analysis of the function words "and" and "with". His findings also suggested that Peele wrote Act 1, 2.1 and 4.1.
2781:, Taymor used stone columns to represent the people of Rome, who she saw as silent and incapable of expressing any individuality or subjectivity. Controversially, the play ended with the implication that Lucius had killed Aaron's baby, despite his vow not to.
3028:
as Aaron. Set in an unspecific modern milieu, props were kept to a minimum, with lighting and general staging kept simple, as Edwards wanted the audience to concentrate on the story, not the staging. The production received generally very favourable reviews.
6136:
1504:
was extremely popular in its day, over the course of the 17th, 18th and 19th centuries it became perhaps Shakespeare's most maligned play, and it was only in the latter half of the 20th century that this pattern of denigration showed any signs of subsiding.
1815:
Twentieth century criticism moved away from trying to prove or disprove that Shakespeare wrote the play, and instead came to focus on the issue of co-authorship. Ravenscroft had hinted at this in 1678, but the first modern scholar to look at the theory was
705:
For the scene where Aaron tricks Titus into cutting off one of his hands, the primary source was probably an unnamed popular tale about a Moor's vengeance, published in various languages throughout the sixteenth century (an English version entered into the
2331:, who argues that the language of the play is marked by "an artificial and heavily emblematic style, and above all a revoltingly grotesque series of horrors which seem to have little function but to ironise man's inadequate expressions of pain and loss".
1795:
However, despite the fact that so many Shakespearean scholars believed the play to have been written by someone other than Shakespeare, there were those throughout the eighteenth and nineteenth century who argued against this theory. One such scholar was
3296:. Aaron frees himself however and leaps into the river after the child. At the end, Saturninus poisons Aaron, but as Aaron dies, Lavinia promises to look after his child for him, due to his saving her from rape earlier in the piece. An entire scene from
698:. She rejects Claudius' advances, enraging him, and he has her abducted. However, both Icilius and Verginia's father, famed centurion Lucius Verginius, are respected figures and Claudius is forced to legally defend his right to hold Verginia. At the
1474:
Far from being an acknowledged source of evidence however, the document has provoked varying interpretations, with its date in particular often called into question. The fact that the text reproduced in the drawing seems to borrow from Q1, Q2, Q3
275:. A scuffle breaks out, during which Titus kills his own son, Mutius. Saturninus then denounces the Andronici family for their effrontery and shocks Titus by marrying Tamora. Putting into motion her plan for revenge, Tamora advises Saturninus to
3403:). Of the adaptation he wrote "it represents an attempt to render Shakespeare's early chaotic work fit for the German stage without having the Shakespearean atrocities and grotesqueries passed over in silence." Working from a translation of the
3231:
much incresas'd." The play was a huge success and was revived in 1686, and published the following year. It was revived again in 1704 and 1717. The 1717 revival was especially successful, starring John Mills as Titus, Mrs. Giffard as Tamora,
964:
and Geoffrey Bullough. This theory is by no means universally accepted however. For example, Ralph M. Sargent agrees with Adams and Bullough that the prose was the source of the play, but he argues that the poem was also a source of the play
944:
believes that the original Danter entry in 1594 is not a reference to the play but to the prose, and the subsequent transferrals of copyright relate to the prose, not the play, thus explaining why Pavier never published the play. Similarly,
473:. Similarly, T. J. B. Spencer argues that "the play does not assume a political situation known to Roman history; it is, rather a summary of Roman politics. It is not so much that any particular set of political institutions is assumed in
2927:
violence; actress Hitomi Manaka appeared after the rape scene with stylised red ribbons coming from her mouth and arms, substituting for blood. Throughout the play, at the back of the stage, a huge marble wolf can be seen from which feed
1914:, who provides fresh evidence for Peele's authorship of 4.1 and argues that the Fly Scene, though absent from earlier editions, probably formed part of the original play but was omitted when Shakespeare and Peele's scenes were merged.
1016:
Ultimately, there is no overriding critical consensus on the issue of the order in which the play, prose and ballad were written, with the only tentative agreement being that all three were probably in existence by 1594 at the latest.
3440:
as Lavinia. Theatricality and falseness were emphasised, and when actors were off stage, they could be seen at the sides of the stage watching the performance. The production received lukewarm reviews, and had an average box office.
1084:(referred to by scholars as Q1) for the booksellers Edward White and Thomas Millington, making it the first of Shakespeare's plays to be printed. This evidence establishes that the latest possible date of composition is late 1593.
4590:
For more information on the theory of 1593 editing, see Dover Wilson (1948: xxxiv–xxxv) and Gary Taylor, "The Canon and Chronology of Shakespeare's Plays", in Stanley Wells, Gary Taylor, John Jowett and William Montgomery (eds.),
2804:
as Titus, Dorothy Ann Gould as Tamora, Sello Maake as Aaron and Jennifer Woodbine as Lavinia. Although Doran explicitly denied any political overtones, the play was set in a modern African context and made explicit parallels to
1471:, under which is quoted some dialogue. Eugene M. Waith argues of the illustration that "the gestures and costumes give us a more vivid impression of the visual impact of Elizabethan acting than we get from any other source."
85:, as a slave to the new Roman emperor, Saturninus. Saturninus takes her as his wife. From this position, Tamora vows revenge against Titus for killing her son. Titus and his family retaliate, leading to a cycle of violence.
3942:
soliloquy in 2.1; Aaron's "Ay, and as good as Saturninus may" (2.1.91); Aaron's soliloquy in 2.3; Tamora's "Now will I hence to seek my lovely Moor,/And let my spleenful sons this trull deflower" (2.3.190–191); Aaron's two
2648:) was also used, who, prior to each act, would announce what was going to happen in the upcoming act, thus undercutting any sense of realism. The production received generally positive reviews, with Mildred Kuner arguing "
1391:
is the earliest extant printed Shakespearean play. Q2 also corrects a number of minor errors in Q1. Q3 is a further degradation of Q2, and includes a number of corrections to the Q2 text, but introduces many more errors.
1363:
for Edward White in 1600 (Q2). On 19 April 1602, Millington sold his share in the copyright to Thomas Pavier. However, the next version of the play was published again for White, in 1611, under the slightly altered title
1221:
As such, even amongst scholars who favour a post-1590 date, 1592 is by no means universally accepted. Jacques Berthoud, for example, argues that Shakespeare had close associations with Derby's Men and "it would seem that
657:
and soon ascend to co-inhabit the throne. However, each becomes jealous of the other, and Thyestes tricks Atreus into electing him as the sole king. Determined to re-attain the throne, Atreus enlists the aid of Zeus and
1524:
questioned the possibility of even staging the play, pointing out that "the barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived tolerable to any audience." In 1811,
1892:
As well as analysing the distribution of a large number of rhetorical devices throughout the play, Vickers also devised three new authorship tests; an analysis of polysyllabic words, an analysis of the distribution of
6121:
2991:, for example, wrote "Blood itself was denoted by spools of red thread spilling from garments, limbs and Lavinia's mouth. Cruelty was stylised; the visceral became the aesthetic." Similarly, Paul Taylor, writing for
2377:
Some scholars, however, have suggested that the January 1594 performance may not be the first recorded performance of the play. On 11 April 1592, Henslowe recorded ten performances by Derby's Men of a play called
1529:
wrote that the play was "framed according to a false idea of the tragic, which by an accumulation of cruelties and enormities, degenerated into the horrible and yet leaves no deep impression behind." In 1927,
981:). G. Harold Metz felt that Mincoff was incorrect and reasserted the primacy of the prose-play-ballad sequence. G.K. Hunter however, believes that Adams, Dover Wilson, Bullough, Sargent, Mincoff and Metz were
3235:
as Aaron, and John Thurmond as Saturninus. The play was revived again in 1718 and 1719 (with John Bickerstaff as Aaron) and 1721 (with Thomas Walker in the role). Quin had left Drury Lane in 1718 and gone to
2713:
predicts the fall of Rome in lines written by Bedford himself. As such, "for affirmation and healing under Lucius the production substituted a sceptical modern theme of evil triumphant and Rome's decadence."
2304:." An entirely different interpretation is that of Jack Reese, who argues that Shakespeare's use of language functions to remove the audience from the effects and implications of violence; it has an almost
2635:
with visual images that recall the richness and depth of primitive rituals." As such, the costumes were purposely designed to represent no particular time or place but were instead based on those of the
3605:
as Titus, Peter Cook as Tamora, Timothy Walter as Aaron and Thomas Campbell as Lavinia. Racism was a major theme in this production, with Aaron initially wearing a gorilla mask, and then poorly applied
2881:
audience members fainted upon Lavinia's appearance. The production was also controversial insofar as the Globe had a roof installed for the first time in its history. The decision was taken by designer
1145:
2nd Series, J.C. Maxwell argues for a date of late 1589. Similarly, E.A.J. Honigmann, in his 'early start' theory of 1982, suggests that Shakespeare wrote the play several years before coming to London
1070:. Henslowe marked the play as "ne", which most critics take to mean "new". There were subsequent performances on 29 January and 6 February. Also on 6 February, the printer John Danter entered into the
2041:
and trembles at her frown" (2.1.10–11). An ironic and sarcastic reference to honour occurs when Bassianus and Lavinia encounter Aaron and Tamora in the forest and Bassianus tells Tamora "your swarthy
759:
Geoffrey Bullough argues that Lucius's character arc (estrangement from his father, followed by banishment, followed by a glorious return to avenge his family honour) was probably based on Plutarch's
3064:
as Lavinia. Emphasising the gore and violence, the production carried a trailer with warnings of "graphic imagery and scenes of butchery". It played at The Swan until October 2013. Also in 2013, the
2485:. While some material was removed from 3.2, 3.3 and 3.4, the rest of the play was left intact, with much attention devoted to the violence and gore. The cast list for this production has been lost.
2213:
held together by sticky sentimentalism". Similarly, Eugene M. Waith determines that the speech is an aesthetic failure that may have looked good on the page but which is incongruous in performance.
3910:
which "seemed like a society where everyone was faceless except for those in power". The production was one of the most lauded plays of the series and garnered almost universally positive reviews.
3930:
was burnt and he made miserable?" (3.2.26–28), Marcus' "What, what! The lustful sons of Tamora/Performers of this heinous, bloody deed" (4.1.78–79), and Titus and Marcus' brief conversation about
2228:, who played Lavinia in the 2003 RSC production, suggests that Marcus "tries to bandage her wounds with language", thus the speech has a calming effect and is Marcus's attempt to soothe Lavinia.
1122:
are the best plays, yet shall pass unexcepted at, here, as a man whose judgement shows it is constant, and hath stood still these five and twenty, or thirty years." The success and popularity of
3542:. Set in both a contemporary and an ancient world predating the Roman Empire, the adaptation begins with a group of salesmen trying to sell real estate; gated communities which they proclaim as
2216:
However, defenders of the play have posited several theories which seek to illustrate the thematic relevance of the speech. For example, Nicholas Brooke argues that it "stands in the place of a
1722:
The first to question Shakespeare's authorship is thought to have been Edward Ravenscroft in 1678, and over the course of the eighteenth century, numerous renowned Shakespeareans followed suit;
1411:
text includes material found in none of the quarto editions, primarily Act 3, Scene 2 (also called the 'fly-killing scene'). It is believed that while Q3 was probably the main source for the
366:. Aaron, however, is unrepentant to the end, regretting only that he did not do more evil in his life. Lucius decides Aaron deserves to be buried chest-deep as punishment and left to die of
469:
has pointed out that the play begins with Titus returning from a successful ten-year campaign against the Goths, as if at the height of the Roman Empire, but ends with Goths invading Rome,
306:
Later, Lavinia writes the names of her attackers in the dirt, using a stick held with her mouth and between her arms. Meanwhile, Aaron is informed that Tamora has secretly given birth to a
3810:
with a budget of $ 12,000, the film is set in a modern business milieu. Saturninus is a corporate head who has inherited a company from his father, and the Goths feature as contemporary
6906:
6083:
3195:. Vos' play focuses on Aaron, who, in the final scene, is burned alive on stage, beginning a tradition amongst adaptations of foregrounding the Moor and ending the play with his death.
1331:
However, if the play was written and performed by 1588 (Hughes), 1589 (Maxwell), 1591 (Berthoud), 1592 (Waith and Taylor), or 1593 (Bate), why did Henslowe refer to it as "ne" in 1594?
552:
However, it is also possible to determine more specific sources for the play. The primary source for the rape and mutilation of Lavinia, as well as Titus' subsequent revenge, is Ovid's
259:
her eldest son, Alarbus, to avenge the deaths of twenty-one of his own sons during the war. Distraught, Tamora and her two surviving sons vow to obtain revenge on Titus and his family.
3802:, directed by Richard Griffin and starring Nigel Gore as Titus, Zoya Pierson as Tamora, Kevin Butler as Aaron and Molly Lloyd as Lavinia, was released direct to video in 2000. Shot on
669:
Another specific source for the final scene is discernible when Titus asks Saturninus if a father should kill his daughter when she has been raped. This is a reference to the story of
3759:). Lionheart abducts Merridew's prized poodles, and bakes them in a pie, which he then feeds to Merridew, before revealing all and force-feeding the critic until he chokes to death.
2394:, who ruled from 79 to 81. The two were subjects of many narratives at the time, and a play about them would not have been unusual. Dover Wilson further argues that the theory that
5579:
3464:). Interspersing the dialogue with a chorus like commentary, the adaptation was heavily political and made reference to numerous twentieth century events, such as the rise of the
421:", who ruled from 379 to 395. On the other hand, the general setting appears to be what Clifford Huffman describes as "late-Imperial Christian Rome", possibly during the reign of
243:, Marcus Andronicus, announces that the people's choice for the new emperor is his brother, Titus, who will shortly return to Rome from a victorious ten-year campaign against the
2765:. The production featured a prologue and epilogue set in the modern era, foregrounded the character of Young Lucius, who acts as a kind of choric observer of events, and starred
2274:
see through his eyes and images. In the process the horror of the situation is filtered through a human consciousness in a way difficult to describe but powerful to experience."
6263:
Detailed overviews of the various changes made by Ravenscroft can be found in Dover Wilson (1948: lxvii–lxviii), Dessen (1989: 7–11), Bate (1995: 48–54) and Hughes (2006: 21–24)
1945:
One of the most basic such motifs is repetition. Several words and topics occur time and again, serving to connect and contrast characters and scenes, and to foreground certain
1824:
or Kyd, with some by Marlow". In 1919, T. M. Parrott reached the conclusion that Peele wrote Act 1, 2.1 and 4.1, and in 1931, Philip Timberlake corroborated Parrott's findings.
831:(1589), which contains the line "the Roman prince did daunt/Wild Africans and the lawless Alarbes." G. K. Hunter has suggested Shakespeare may have taken Saturninus's name from
1198:
and Sussex's Men ("As it was Plaide by the Right Honourable the Earle of Darbie, Earle of Pembrooke, and Earle of Suſſex their Seruants"). This is highly unusual in copies of
1168:
edition of 1994 and again in 2006, Alan Hughes makes a similar argument, believing the play was written very early in Shakespeare's career, before he came to London, possibly
1186:
However, the majority of scholars tend to favour a post-1590 date, and one of the primary arguments for this is that the title page of Q1 assigns the play to three different
358:. When Saturninus answers that he should, Titus kills Lavinia and tells Saturninus of the rape. When the Emperor calls for Chiron and Demetrius, Titus reveals that they were
1343:
seem to indicate editing. However, that "ne" does actually stand for "new" is not fully accepted; in 1991, Winifred Frazer argued that "ne" is actually an abbreviation for "
3340:
738:
from 1403 to 1407, but, since there is no reason to suppose that Shakespeare might have come across these emperors, it is more likely that he took the name from the story "
2966:
powerful symbolic image, redolent of the dehumanising effects of war." Of Ninagawa's production, some critics felt the use of stylisation damaged the impact of the scene.
2931:, with the implication being that Rome is a society based on animalistic origins. The play ends with Young Lucius holding Aaron's baby out to the audience and crying out "
2717:
A celebrated, and unedited production, (according to Jonathan Bate, not a single line from Q1 was cut) was directed by Deborah Warner in 1987 at The Swan and remounted at
3308:
on 26 April. It was generally agreed amongst reviewers of the period that the Aldridge/Somerset rewrite was considerably superior to Shakespeare's original. For example,
63:, believed to have been written between 1588 and 1593. It is thought to be Shakespeare's first tragedy and is often seen as his attempt to emulate the violent and bloody
3897:, but she ultimately settled on a more conventional approach. All the body parts seen throughout were based upon real autopsy photographs, and were authenticated by the
3033:
2254:
In contradistinction to Dover Wilson and Waith, several scholars have argued that while the speech may not work on the page, it can work in performance. Discussing the
3668:
2532:
1243:
3328:
3298:
1095:
so he could make a facsimile. This arrangement, brokered by David Laing, eventually led to Halliwell-Phillips donating a vast collection of books and manuscripts to
928:
records from the Stationers' Register in Shakespeare's own lifetime provide some tenuous evidence regarding the dating of the prose. On 19 April 1602, the publisher
3183:, which was published in 1641, and republished in 1642, 1644, 1648 and 1649, illustrating its popularity. The play may have been based on a 1621 work, now lost, by
2327:." An example of this is seen in the body politic/dead body imagery early in the play, as the two images soon become interchangeable. Another theory is provided by
2611:
2420:
Although it is known that the play was definitely popular in its day, there is no other recorded performance for many years. In January 1668, it was listed by the
1965:, patrons of my right" (l.1). In the second speech of the play, Bassianus states "And suffer not dishonour to approach/The imperial seat, to virtue consecrate,/To
932:
sold his share in the copyright of "A booke intitled a Noble Roman Historye of Tytus Andronicus" (which Danter had initially entered into the Register in 1594) to
4047:(Waith), based on the Q1 text of 1594 (except 3.2, which is based on the folio text of 1623). Under its referencing system, 4.3.15 means act 4, scene 3, line 15.
5870:
3640:, the title of which is taken from Titus' claim to be able to understand the mute Lavinia. Focusing on the backstories of Tamora and Lavinia, the play is set in
3184:
2821:
went far beyond the play itself many of the tensions that exist in the new South Africa; the gulf of mistrust that still exists between blacks and whites ...
1800:, who, in 1768, said that the play was badly written but asserted that Shakespeare did write it. Another major scholar to support Shakespeare's authorship was
748:
5819:
1013:, Alan Hughes also argues for the original prose-play-ballad theory, but hypothesizes that the source for the ballad was exclusively the prose, not the play.
565:), which is featured in the play itself when Lavinia uses it to help explain to Titus and Marcus what happened to her during the attack. In the sixth book of
6183:
All information taken from Hughes (2006: 47–50). For more information on the Stein and Mesguich productions see Dominique Goy-Blanquet's "Titus resartus" in
3500:
3161:
2904:
Hitomi Manaka as Lavinia in Yukio Ninagawa's 2006 production at the Royal Shakespeare Theatre; note the use of red ribbons as a stylised substitute for blood
936:. The orthodox belief is that this entry refers to the play. However, the next version of the play to be published was for Edward White, in 1611, printed by
3116:
1901:. His findings led him to assert that Peele wrote Act 1, 2.1 and 4.1. Vickers' findings have not been universally accepted. Subsequent investigation by the
1459:
is the so-called 'Peacham drawing' or 'Longleat manuscript'; the only surviving contemporary Shakespearean illustration, now residing in the library of the
8890:
3671:
in Denver, Colorado four times between 2002 and 2007. Staged as a band of travelling thespian players who are attempting to put on a serious production of
2985:
music, unduly aestheticised violence." Some critics, however, felt the stylisation was more powerful than Bailey's realism; Neil Allan and Scott Revers of
1961:, all of which are mentioned multiple times throughout the play, especially during the first act; the play's opening line is Saturninus' address to "Noble
4026:
staged an adaptation by Kurt Klinger, starring Romuald Pekny as Titus, Marion Degler as Tamora, Wolfgang Böck as Aaron and Elisabeth Augustin as Lavinia.
3072:. The production contrasted a military and modern Goth culture, but quickly disintegrated into an anarchic state, stressing the black comedy of the play.
2292:
Looking at the language of the play in a more general sense has also produced a range of critical theories. For example, Jacques Berthoud argues that the
6508:
3493:
2448:
1007:(edited by Sonia Massai), Jacques Berthoud agrees with Waith and settles on the initial prose-play-ballad sequence. In his 2006 revised edition for the
710:
in 1569 has not survived). In the story, a married nobleman with two children chastises his Moorish servant, who vows revenge. The servant goes to the
5670:
3104:
3021:
1271:. Then, towards the end of 1593, with the prospect of the theatres being reopened, and with the classical material still fresh in his mind, he wrote
815:
as he attempts to settle his people in Latium. A. C. Hamilton speculates that the name of Tamora could have been based upon the historical figure of
499:, which took figures and events from history and spun fictional tales around them. In Shakespeare's lifetime, a writer known for doing likewise was
4887:
The Feminine Ending in English Blank Verse: A Study of its Use by Early Writers in the Measure and its Development in the Drama up to the Year 1595
3289:
2766:
2472:
839:, which features a jealous and violent tribune named Saturninus. On the other hand, Waith speculates that Shakespeare may have been thinking of an
1403:, is based primarily on the Q3 text (which is why modern editors use Q1 as the control rather than the usual practice in Shakespeare of using the
8993:
6440:
4511:
4003:
3990:
radio, performed by the Cardiff Station Repertory Company as the second episode of a series of programs showcasing Shakespeare's plays, entitled
3629:, it starred Andy Ng Wai-shek as Titus, Ivy Pang Ngan-ling as Tamora, Chu Pak-hong as Aaron and Lai Yuk-ching as Lavinia. Performed entirely in
417:
is set may not be based on a real historical period. According to the prose version of the play (see below), the events are "set in the time of
295:
Titus's sons Martius and Quintus for the murder of Bassianus. Horrified at the death of his brother, Saturninus arrests Martius and Quintus and
9046:
7462:
6845:
For more information on this production, see Dessen (1989: 44–48). For a detailed overview of the production process itself, see Susan Willis,
6696:
José Ramón Díaz Fernández, "The Roman Plays on Screen: An Annotated Filmo-Bibliography", in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds.),
3905:. For the scene when Chiron and Demetrius are killed, a large carcass is seen hanging nearby; this was a genuine lamb carcass purchased from a
2734:
2029:
The irony here, of course, is that her false appeal to honour is what begins the bloody cycle of revenge which dominates the rest of the play.
1479:
F1, while also inventing some of its own readings, further complicates matters. Additionally, a possible association with Shakespearean forger
997:, Eugene M. Waith rejects Hunter's theory and supports the original prose-play-ballad sequence. On the other hand, in his 1995 edition for the
6793:
José Ramón Díaz Fernández, "The Roman Plays on Screen: An Annotated Filmo-Bibliography", in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds.)
6097:
4568:
See Gary Taylor, "The Canon and Chronology of Shakespeare's Plays", in Stanley Wells, Gary Taylor, John Jowett and William Montgomery (eds.),
3926:
residence in Rome. Other examples include Titus' "Ah, wherefore dost thou urge the name of hands,/To bid Aeneas tell the tale twice o'er,/How
1804:
in 1843. Several years later, a number of prominent German Shakespeareans also voiced their belief that Shakespeare wrote the play, including
8132:
3667:, written by Brian Colonna, Erik Edborg, Hannah Duggan, Erin Rollman, Evan Weissman, Matt Petraglia, and Samantha Schmitz, was staged by the
2742:
2583:
rained down onto the stage. The play received mixed reviews with many critics wondering why Seale had chosen to associate the Andronici with
1843:, who successfully exposed inherent flaws in Robertson's methodology. In 1933, Arthur M. Sampley employed the techniques of Parrott to argue
1820:
in 1905, who concluded that "much of the play is written by George Peele, and it is hardly less certain that much of the rest was written by
726:
Shakespeare also drew on various sources for the names of many of his characters. For example, Titus could have been named after the Emperor
8072:
7481:
1535:
jolt and bump along like some broken-down cart, laden with bleeding corpses from an Elizabethan scaffold, and driven by an executioner from
5609:
2981:
s Michael Billington, who had praised Bailey's use of realistic effects, wrote "At times I felt that Ninagawa, through stylised images and
2456:
2371:
786:, arguing that "the man who led the people in their uprising was Lucius Junius Brutus. This is the role that Lucius fulfills in the play."
251:, bearing with him as prisoners Tamora, Queen of the Goths, her three sons Alarbus, Chiron, and Demetrius, and her secret lover, Aaron the
5568:
3552:
is represented as governing nature, but is losing her power to the melancholic and uninterested Saturn, leading to a society rampant with
7844:
3076:
2893:– a cooling system which consisted of a canvas-covered, net-like structure made of ropes, with a hole in the centre. Dudley made it as a
1778:. All doubted Shakespeare's authorship. So strong had the anti-Shakespearean movement become during the eighteenth century that in 1794,
511:, and who could have served as an indirect source for Shakespeare. So, too, could the first major English author to write in this style,
9282:
8611:
8548:
8543:
3351:
on 11 November, Harold Hobson wrote the stage was full of "practically the whole company waving gory stumps and eating cannibal pies".
2939:
Japanese staging so stylised that it keeps turning the horror into visual poetry." Speaking of Bailey's production, Eleanor Collins of
1692:
Perhaps the most frequently discussed topic in the play's critical history is that of authorship. None of the three quarto editions of
4431:
3136:
The first known adaptation of the play originated in the later years of the sixteenth century. In 1620, a German publication entitled
1275:
as his first tragedy, shortly after reading Nashe's novel and Peele's poem, all of which suggests a date of composition of late 1593.
886:
9590:
8948:
7711:
2560:
1003:
3rd Series, Jonathan Bate favours Mincoff's theory of play-ballad-prose. In the introduction to the 2001 edition of the play for the
99:. Its reputation began to improve around the middle of the 20th century, but it is still one of Shakespeare's least respected plays.
1788:, "Shakespeare's memory has been fully vindicated from the charge of writing the play by the best critics." Similarly, in 1832, the
3978:
features a character originally named Ronald Wilkerson that changed his name to Titus Andromedon, possibly derived from this play.
3969:
cooks in chili, which he feeds to Scott. He then gleefully reveals his deception as Scott finds his mother's finger in the chilli.
1091:
Heritage Collection. This was donated by William Hog in 1700. In the 1860s this copy was lent to Shakespeare scholar and Collector
7151:
Bryant Jr., Joseph Allen. "Aaron and the Pattern of Shakespeare's Villains" in Dale B. J. Randall and Joseph A. Porter (editors),
9224:
8902:
1545:
1259:
trilogy prior to the closing of the theatres in June 1592. At this time, he turns to classical antiquity to aid him in his poems
1248:
604:
For the scene where Lavinia reveals her rapists by writing in the sand, Shakespeare may have used a story from the first book of
3347:, the production edited together all of the violent scenes, emphasised the gore, and removed Aaron entirely. In a review in the
2547:, and thus comment on the universality of violence and revenge. Seale set the play in the 1940s and made pointed parallels with
9064:
8963:
6552:
3702:
1419:'s copy was also used, particularly in relation to stage directions, which differ significantly from all of the quarto texts.
858:
Shakespeare most likely took the names of Caius, Demetrius, Marcus, Martius, Quintus, Æmilius, and Sempronius from Plutarch's
620:, she attempts to tell him who she is but is unable to do so until she thinks to scratch her name in the dirt using her hoof.
9059:
8491:
7298:
5151:
5031:
3477:
1578:
a star actor." By 2001 however, this was no longer the case, as many prominent scholars had come out in defence of the play.
1520:'tis the most incorrect and indigested piece in all his works. It seems rather a heap of rubbish than a structure." In 1765,
267:
to Saturninus's brother, Bassianus, who refuses to give her up. Titus's sons tell Titus that Bassianus is in the right under
4798:
2057:
believes it will save his sons' lives he says, "Lend me thy hand, and I will give thee mine." Therefore, in the language of
8560:
7530:
6480:
2974:, for example, asked "is it enough to suggest bloodletting by having red ribbons flow from wrists and throats?" Similarly,
975:
rejects both theories, arguing instead that the play came first, and served as a source for both the ballad and the prose (
714:
tower where the man's wife and children live, and rapes the wife. Her screams bring her husband, but the Moor pulls up the
6606:
5749:
3103:'s 1989 production in Paris, which set the entire play in a crumbling library, acting as a symbol for Roman civilisation;
1543:
However, although the play continued to have its detractors, it began to acquire its champions as well. In his 1998 book,
1351:, amongst others, finds Frazer's arguments convincing, which renders interpretation of Henslow's entry even more complex.
9137:
8640:
8499:
3354:
In 1957 the Old Vic staged a heavily edited ninety-minute performance as part of a double bill with an edited version of
2659:
directed an RSC production at the Royal Shakespeare Theatre, as part of a presentation of the four Roman plays, starring
1261:
9412:
6637:
6158:
3863:
3123:(this production is one of the most successful plays ever staged in Romania, and it was revived every year up to 1997).
869:, better known as Caracalla, who, like Bassianus in the play, fights with his brother over succession, one appealing to
9595:
9570:
9565:
6579:
3145:
Eine sehr klägliche Tragaedia von Tito Andronico und der hoffertigen Käyserin darinnen denckwürdige actiones zubefinden
1784:
5884:
4309:
For an extensive examination of the complex copyright history of the play and prose, see Adams (1936) and W. W. Greg,
2435:
After over 300 years absence from the English stage, the play returned on 8 October 1923, in a production directed by
9249:
9003:
8973:
8125:
5047:
4072:
3157:
3069:
2856:
Laura Rees as Lavinia in Lucy Bailey's 2006 production at Shakespeare's Globe; note the 'realistic' effects and blood
2443:, as part of the Vic's presentation of the complete dramatic works over a seven-year period. The production featured
2323:
use of certain words complements their literal counterparts. This, however, "disrupts the way the audience perceives
1255:
on 26 June 1593. Bate takes these three pieces of evidence to suggest a timeline which sees Shakespeare complete his
8003:
5808:
3859:, starring Leo Lastumäki as Titus, Iris-Lilja Lassila as Tamora, Eugene Holman as Aaron and Maija Leino as Lavinia.
2641:
2488:
The best known and most successful production of the play in England was directed by Peter Brook for the RSC at the
2382:, which some, such as E. K. Chambers, have identified with Shakespeare's play. Most scholars, however, believe that
1929:
illustration of Lucius telling his father the tribunes have left, from Act 3, Scene 1; engraved by N. le Mire (1785)
9575:
9041:
9036:
8968:
7899:
7273:
6413:
3548:, where women and children are secure from "theft, rape and kidnapping". Mythology is important in the adaptation;
1779:
1644:'s illustration of Aaron protecting his son from Chiron and Demetrius in Act 4, Scene 2; engraved by J. Hogg (1799)
1348:
6330:
All information taken from Lukas Erne, "Lamentable tragedy or black comedy?: Frederick Dürrenmatt's adaptation of
2539:
with costumes that recalled the various combatants in World War II. Seale's production employed a strong sense of
940:, thus prompting the question of why Pavier never published the play despite owning the copyright for nine years.
9585:
9560:
9016:
9011:
8931:
6713:: Staging the Mutilated Roman Body", in Maria Del Sapio Garbero, Nancy Isenberg and Maddalena Pennacchia (eds.),
6465:
Yong Li Lan, "Tang Shu-wing's titus and the acting of violence", in Susan Bennett and Christie Carson (editors),
3901:. The costumes of the Goths were based on punk outfits, with Chiron and Demetrius specifically based on the band
3380:
as Saturninus. Performed in the manner of a traditional Elizabethan production, the play received mixed reviews.
2320:
5407:(London: Barry Rocklith, 1965), 235–237. An overview of the production can also be found in Dessen (1989: 14–23)
2753:
as Titus, Molly Maycock as Tamora, Elizabeth Atkeson as Lavinia, and an especially well-received performance by
1667:, agreed and stated: "It is the Shakespeare play for our time, a work of art that speaks directly to the age of
9580:
9458:
9275:
8983:
8755:
8570:
8530:
3684:
2689:
1684:
902:
347:, respectively) approach Titus in order to persuade him to have Lucius remove his troops from Rome. Tamora (as
3481:
2036:
Thomas Kirk illustration of Young Lucius fleeing from Lavinia in Act 4, Scene 1; engraved by B. Reading (1799)
1922:
1629:
speculates as to why the fortunes of the play have begun to change during the 20th century: "in the civilised
489:
In his efforts to fashion general history into a specific fictional story, Shakespeare may have consulted the
9555:
8884:
3913:
2910:
2833:
2793:
929:
4311:
A Bibliography of the English Printed Drama to the Restoration, Volume 1: Stationers' Records, Plays to 1616
2860:
In 2006, two major productions were staged within a few weeks of one another. The first opened on 29 May at
1278:
Other critics have attempted to use more scientific methods to determine the date of the play. For example,
235:
Shortly after the death of the Roman emperor, his two sons, Saturninus and Bassianus, quarrel over who will
9313:
9239:
9106:
8922:
8575:
8223:
8167:
8118:
6010:
Agnès Lafont, "Mythological reconfigurations on the contemporary stage: Giving a New Voice to Philomela in
5659:
3602:
3586:
3386:, for example, felt that the juxtaposition of the blood tragedy and the frothy comedy was "ill-conceived".
3112:
2481:
2413:
1938:
play is more linguistically complex than is often thought, and features a more accomplished use of certain
1096:
1074:"A booke intitled a Noble Roman Historye of Tytus Andronicus". Later in 1594, Danter published the play in
109:
70:
6767:
Shakespeares After Shakespeare: An Encyclopaedia of the Bard in Mass Media and Popular Culture, Volume One
1831:
Illustration of Aaron protecting his son from Chiron and Demetrius in Act 4, Scene 2; from Joseph Graves'
1314:. He also argues that 3.2, which is only found in the 1623 Folio text, was written contemporaneously with
9600:
8912:
8873:
8860:
8734:
8266:
7978:
7777:
6779:
Chatterjee, Bornila (director), Naseeruddin Shah, Tisca Chopra, Neeraj Kabi (actors) (7 September 2017).
3420:
3150:
A most lamentable tragedy of Titus Andronicus and the haughty empress, wherein are found memorable events
3009:
2922:
as Aaron and Hitomi Manaka as Lavinia. Performed in Japanese, the original English text was projected as
2463:
The earliest known performance of the Shakespearean text in the United States was in April 1924 when the
2452:
1792:
claimed there was universal agreement on the matter due to the un-Shakespearean "barbarity" of the play.
1751:
1747:
1199:
1108:
730:, who ruled Rome from 79 to 81. Jonathan Bate speculates that the name 'Andronicus' could have come from
231:
illustration of Aaron cutting off Titus's hand in Act 3, Scene 1; engraved by Gerard Van der Gucht (1740)
6028:
4858:
See Vickers (2002: 150–156) for a summary of the pre-20th century pro- and anti-Shakespearean arguments.
3418:
followed the 1957 Old Vic model and directed a heavily edited version of the play as a double bill with
1612:
can seem ridiculous. But I have seen it on the stage and found it a moving experience. Why? In watching
228:
9463:
9080:
8798:
8626:
8565:
8525:
8216:
8195:
5977:
5791:
3868:
3594:
3373:
3065:
3049:) as Titus, Stephanie Roth Haberle as Tamora, Ron Cephas Jones as Aaron and Jennifer Ikeda as Lavinia.
3013:
2942:
2416:
illustration of Quintus trying to help Martius from the hole in Act 2, Scene 3; engraved by Hall (1785)
2340:
1801:
1380:
1102:
There is evidence, however, that the play may have been written some years earlier than this. In 1614,
924:(the ballad was also included in the chapbook), however it is believed to be much older than that. The
633:, written in the first century AD. In the mythology of Thyestes, which is the basis for Seneca's play,
446:
7718:
Pruitt, Anna. "Refining the LION Collocation Test: A Comparative Study of Authorship Test Results for
5083:
Kendall, Gillian Murray (Autumn 1989). "'Lend Me Thy Hand': Metaphor and Mayhem in Titus Andronicus".
9545:
9469:
9268:
9099:
9094:
9051:
8927:
8725:
6948:(Signet Classic Shakespeare; New York: Signet, 1963; revised edition, 1989; 2nd revised edition 2005)
5155:
3974:
3898:
3215:
2947:, said of the scene, "audience members turned their heads away in real distress". Charles Spencer of
2882:
2829:
2676:
2489:
2363:
1885:
edition of 1995. In the case of Bate however, in 2002, he came out in support of Brian Vickers' book
1821:
1233:
1215:
1092:
1009:
897:
532:
359:
24:
7283:
Greene, Darragh. "'Have we done aught amiss?': Transgression, Indirection and Audience Reception in
6819:
For much factual information on this production, see Mary Z. Maher, "Production Design in the BBC's
4688:
For a thorough overview of the early critical history of the play, see Dover Wilson (1948: vii–xix).
1661:
a play written for today, it reeks of now". Jonathan Forman, when he reviewed Taymor's film for the
1604:
is a much more cruel play. In the whole Shakespearean repertory I can find no scene so revolting as
8958:
8907:
8897:
8878:
8865:
8605:
8237:
3807:
3787:
as Tamora, Harry Lennix as Aaron (reprising his role from Taymor's 1994 theatrical production) and
3119:'s 1992 Romanian production, which explicitly avoided using the play as a metaphor for the fall of
2806:
2762:
2579:
uniforms; the murders in the last scene are all carried out by gunfire, and at the end of the play
2284:
illustration of Tamora watching Lavinia dragged away to be raped, from Act 2, Scene 3; engraved by
1962:
1848:
1483:
has served to undermine its authenticity, while some scholars believe it depicts a play other than
941:
762:
731:
512:
9260:
6055:
5911:
852:
9428:
8681:
8245:
7421:
6924:
5974:, directed by Yukio Ninagawa for The Ninagawa Company, Royal Shakespeare Theatre, 21 June 2006",
5631:
3961:
3618:
3408:
3237:
2300:
included, functions as a network of responses and reactions. primary and consistent function is
1805:
1775:
1526:
1508:
One of the earliest critical disparagements of the play occurred in 1687, in the introduction to
1376:
1360:
1310:, which he assigns to late 1591 or early 1592. As such, Taylor settles on a date of mid-1592 for
1088:
707:
691:
67:
of his contemporaries, which were extremely popular with audiences throughout the 16th century.
20:
7268:
Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer
6196:
See Dover Wilson (1948: xl–xli), Waith (1984: 7) and Bate (1995: 44–48) for more information on
5721:
5024:
Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer
3755:
in a Shakespeare play. One such act of revenge involves the critic Meredith Merridew (played by
3390:
2250:
is the ultimate means by which man seeks to order and control his precarious and unstable world.
1426:
involves a combination of material from Q1 and F1, the vast majority of which is taken from Q1.
495:, a well known thirteenth-century collection of tales, legends, myths, and anecdotes written in
9605:
9509:
9111:
8838:
8776:
8696:
8619:
8230:
8209:
8149:
7636:
7368:
7186:
6530:
5394:
See Dessen (1989: 17–19) for a cross section of reviews concentrating on the music and Olivier.
3931:
3706:
3415:
3092:
3068:
staged a production directed by Jon Ciccarelli as part of a special Halloween festival for the
2982:
2861:
2810:
2789:
2746:
2576:
1723:
1536:
993:
985:
wrong, and the play was the source for the prose, with both serving as sources for the ballad (
650:
323:
7766:
Sacks, Peter. "Where Words Prevail Not: Grief, Revenge, and Language in Kyd and Shakespeare",
7028:(The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1994; 2nd edition 2006)
2204:
Edward Smith illustration of Lavinia pleading with Tamora for mercy from Act 2, Scene 3 (1841)
9359:
9203:
9117:
9086:
8988:
8651:
8382:
8292:
8273:
7657:
7333:
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7052:
6993:
5085:
4079:
Provides extensive information on the likes and dislikes of theatrical audiences at the time.
3935:
3722:
3485:
3256:
3207:
3046:
2813:, which allegedly resulted in many white South Africans refusing to see the play. Writing in
2436:
1287:
1279:
1191:
823:
queen. Eugene M. Waith suggests that the name of Tamora's son, Alarbus, could have come from
778:
into Britain. On the other hand, Jonathan Bate hypothesises that Lucius could be named after
675:
616:, where, to prevent her from divulging the story, he turns her into a cow. Upon encountering
56:
8042:
7835:
5944:
3270:
2908:
The second 2006 production opened at the Royal Shakespeare Theatre on 9 June as part of the
9550:
9026:
8813:
8791:
8371:
8322:
8301:
8281:
8181:
8158:
7412:
5906:
3885:
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2967:
2697:
2134:
1861:
1641:
1605:
779:
430:
399:
393:
7293:
Ed. Rory Loughnane and Edel Semple. (New York: Palgrave Macmillan, 2013), pp. 63–75.
3120:
2548:
1569:
Another champion came in 2001, when Jacques Berthoud pointed out that until shortly after
8:
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8674:
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8141:
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5842:
5814:
5693:
5665:
5601:
5574:
4608:, 38:1 (Spring, 1991), 34–35, and Vickers (2002: 149) for more information on this theory
3995:
3310:
3252:
3084:
2949:
2750:
2429:
1559:
1514:
Titus Andronicus, or the Rape of Lavinia. A Tragedy, Alter'd from Mr. Shakespeare's Works
1344:
1267:
1252:
1128:
333:. Convinced of Titus's madness, Tamora, Demetrius, and Chiron (dressed as the spirits of
236:
60:
3220:
Titus Andronicus, or the Rape of Lavinia. A Tragedy, Alter'd from Mr. Shakespeares Works
1972:
When Marcus announces Titus' imminent arrival, he emphasises Titus' renowned honour and
91:
was initially very popular, but by the later 17th century it was not well esteemed. The
9522:
9191:
9149:
9031:
8769:
8667:
8472:
7672:
7618:
McCandless, David. "A Tale of Two Tituses: Julie Taymor's Vision on Stage and Screen",
7000:
6988:
5698:
5102:
5041:
4061:
3998:
aired a 130-minute version of the play, adapted for radio by J. C. Trewin and starring
3582:
3344:
3088:
3037:
2894:
2828:
For the first time since 1987, the RSC staged the play in 2003, under the direction of
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2259:
1926:
1594:
1509:
1480:
1416:
1178:
1087:
One of the two known copies of the second edition of Titus Andronicus is a part of The
1067:
1030:
743:
662:, and has Thyestes banished from Mycenae. Atreus subsequently discovers that his wife,
624:
504:
470:
296:
184:
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is complete without reference to Marcus's speech upon finding Lavinia after her rape:
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8479:
8406:
8398:
8104:
8088:
7997:
7294:
7130:
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4653:
Waith (1984), Hughes (1994 and 2006), Bate (1995), MacDonald (2000) and Massai (2001)
4068:
3803:
3549:
3251:
In January and February 1839 an adaptation written and directed by and also starring
2932:
2928:
2841:
2778:
2722:
2599:
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2310:
1946:
1939:
1865:
1856:
1298:. Taylor concludes that the entire play except Act 3, Scene 2 was written just after
1195:
1132:, to which Jonson alludes, is attested by many contemporary documents, so by placing
999:
771:
629:
546:
524:
7663:(London: Oxford University Press, 1953; 2nd edn. edited by Robert D. Eagleson, 1986)
7263:(Cambridge: Cambridge University Press, 1961; 2nd edn. edited by Foakes alone, 2002)
3986:
The play has very rarely been staged for radio. In 1923, extracts were broadcast on
3917:
Young Lucius stares at the body of Aaron's baby in Jane Howell's adaptation for the
3284:
The most successful adaptation of the play in Britain premiered in 1850, written by
2354:
was on 24 January 1594, when Philip Henslowe noted a performance by Sussex's Men of
1206:, Derby's Men sold the play to Pembroke's Men, who were going on a regional tour to
9185:
9173:
9167:
8762:
8689:
8589:
8463:
8456:
8448:
8425:
8418:
8391:
8350:
7666:
Palmer, D. J. "The Unspeakable in Pursuit of the Uneatable: Language and Action in
5473:
A cross section of reviews of this production can be found in Dessen (1989: 48–50).
5094:
4772:; Contemporary Shakespeare Series (Maryland: University of America Press, 1987), 15
4011:
3894:
3828:
3742:
3730:
3590:
3578:
3570:
3512:
3437:
3304:
3223:
3053:
2730:
2649:
2637:
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2493:
2421:
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probably originated in an 1865 English translation of a 1620 German translation of
2359:
2281:
1767:
1668:
1600:
1460:
1316:
1306:
1300:
1247:
are also important for Bate. The poem was written to celebrate the installation of
1203:
861:
824:
508:
96:
7288:
7231:
The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769
5159:
3445:
409:, all of which are based on real historical events and people (or, in the case of
9501:
9453:
9391:
8941:
8553:
8441:
8357:
7983:
7756:
7740:
7160:
Narrative and Dramatic Sources of Shakespeare (Volume 6): Other 'Classical' Plays
6978:
6131:
6126:
carries heavy warning as production ups the blood-squirting gore Tarantino-style"
5997:
5755:
4802:
4502:
4015:
3999:
3811:
3793:
3780:
3763:
3726:
3507:
version of the play at the Stratford Shakespeare Festival, in a double bill with
3425:
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1999:
1817:
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1739:
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1059:
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961:
954:
from both play and prose. Adams Jr., for example, firmly believed in this order (
500:
491:
264:
256:
8058:
6187:, edited by Dennis Kennedy (Cambridge: Cambridge University Press, 1993), 36–76.
3856:
3523:
2900:
2296:
of the play is explicitly bound up with its theme; "the entire dramatic script,
1182:
First page of the second edition of William Shakespeare's Titus Andronicus, 1600
1046:
Title page of the second edition of William Shakespeare's Titus Andronicus, 1600
890:
694:, begins to lust after Verginia, a plebeian girl betrothed to a former tribune,
9516:
8434:
8174:
7795:
7531:"Language of Extremities/Extremities of Language: Body Language and Culture in
7318:
7014:
7004:
4507:
4496:
3877:
3827:
by director Bornilla Chatterjee set in contemporary New Delhi, India. It stars
3747:
3710:
3688:
3429:
3176:
3042:
2915:
2754:
2726:
2572:
2552:
2501:
2444:
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2267:
2255:
1840:
1809:
1763:
1759:
1755:
1735:
1731:
1727:
1702:
1521:
1207:
783:
695:
609:
454:
442:
425:(527–565). Also favouring a later date, Grace Starry West argues, "the Rome of
7958:
Wynne-Davies, Marion. ""The swallowing womb": Consumed and Consuming Women in
7855:?: Automated Searches and Deep Reading" in Gary Taylor and Gabriel Egan (eds)
7775:
Sampley, Arthur M. "Plot Structure in Peele's Plays as a Test of Authorship",
3876:, the play was the thirty-seventh and final episode of the series and starred
2777:
as Aaron and Miriam Healy-Louie as Lavinia. Heavily inspired in her design by
851:(1503), which states that Saturnine men (i.e. men born under the influence of
9539:
9495:
9371:
9209:
9155:
8917:
8259:
8018:
7920:
West, Grace Starry. "Going by the Book: Classical Allusions in Shakespeare's
7761:
Shakespeare on the Stage: An Illustrated History of Shakespearean Performance
7604:
7073:
6961:
6951:
6941:
6645:
5500:
An extensive overview of this production can be found in Dessen (1989: 57–70)
4826:
4019:
4006:
as Tamora, George Hayes as Aaron and Janette Tregarthen as Lavinia. In 1973,
3881:
3784:
3756:
3751:
3737:
3626:
3516:
3489:
3433:
3365:
3336:
3324:
3075:
Outside Britain and the United States, other significant productions include
3061:
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2785:
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2568:
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2497:
2476:
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before the nobleman can gain entry. The Moor then kills both children on the
554:
520:
466:
434:
355:
248:
144:
92:
32:
8059:"Roman or Revenger?: The Definition and Distortion of Masculine Identity in
6583:
2567:
and all his followers dressed entirely in black; Titus was modelled after a
318:
Illustration of the death of Chiron and Demetrius from Act 5, Scene 2; from
9490:
9475:
9420:
9341:
9143:
8845:
8509:
7949:
7931:
Wells, Stanley; Taylor, Gary; with Jowett, John & Montgomery, William.
7256:
7106:
7021:(The New Penguin Shakespeare; London: Penguin, 1958; revised edition, 1995)
6894:
The Deep End of South Park: Critical Essays on TV's Shocking Cartoon Series
6676:
6614:
6485:
6060:
5982:, Special Issue: The Royal Shakespeare Company Complete Works (2007), 39–41
5949:
5847:
3965:
3840:
3832:
3788:
3775:
3692:
3465:
3285:
3260:
3005:
2955:
2873:
2797:
2774:
2672:
2632:
2603:
2519:
2505:
2217:
1894:
1860:
1987, Marina Tarlinskaja used a quantitative analysis of the occurrence of
1827:
1657:
1653:
1649:
1637:
1570:
1550:
1332:
1228:
1218:, suggesting the order is random and cannot be used to help date the play.
937:
844:
775:
642:
418:
203:
64:
7744:
Did Shakespeare Write Titus Andronicus?: A Study in Elizabethan Literature
7307:: The Use of Emblematic Method and Iconology in the Thematic Structure of
7201:. (Shakespeare Yearbook), (Lewiston: The Edwin Mellen Press, 1996), 327–54
6509:"Tang Shu-wing's Titus Andronicus 2.0 and a Poetic Minimalism of Violence"
5788:, directed by Lucy Bailey, The Globe, London, 31 May & 11 July 2006",
3701:, written by Michael Johnson and Mary Davenport was performed at the 2007
3198:
2685:
of an obese emperor reclining on a couch and clutching a bunch of grapes.
1839:
The first major critic to challenge Robertson, Parrott and Timberlake was
1592:
is by no means the most brutal of Shakespeare's plays. More people die in
8936:
8748:
8504:
8252:
7081:
7056:
5760:
4007:
3902:
3873:
3836:
3598:
3559:
3473:
3361:
3025:
2865:
2801:
2705:
2656:
2628:
2595:
2440:
2285:
1672:
1626:
1531:
1042:
917:
699:
422:
314:
311:
order to save the baby, Aaron reveals the entire revenge plot to Lucius.
307:
42:
19:
This article is about the play by William Shakespeare. For the band, see
8098:
8082:
4628:
Shakespeare in Print: A History and Chronology of Shakespeare Publishing
4112:(1623), it is spelt Aaron. All modern editors adopt the latter spelling.
4022:
as Aaron and Frances Jeater as Lavinia. In 1986, Austrian radio channel
2959:
said her slow shuffle onto the stage "chills the blood". Sam Marlowe of
2852:
2386:
is more likely a different play about the two real life Roman Emperors,
1359:
The 1594 quarto text of the play, with the same title, was reprinted by
465:." Others are less certain of a specific setting, however. For example,
9435:
9021:
8308:
7964:
The Matter of Difference: Materialist Feminist Criticism of Shakespeare
7823:
Starks, Lisa S. "Cinema of Cruelty: Powers of Horror in Julie Taymor's
5106:
4108:(1594), Aaron is spelt Aron, but in all subsequent quartos, and in the
3956:
3921:; in the background, his father is being inaugurated as the new emperor
3823:
3652:
3232:
3080:
2919:
2877:
2619:
2409:
2042:
1889:
which restates the case for Peele as the author of Act 1, 2.1 and 4.1.
1563:
1455:
An important piece of evidence relating to both the dating and text of
1372:
1283:
1123:
1103:
946:
820:
789:
The name of Lavinia was probably taken from the mythological figure of
719:
715:
405:
371:
78:
8110:
7904:
Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays
7182:
Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays
7129:
Brockbank, Philip. "Shakespeare: His Histories, English and Roman" in
6975:(The Pelican Shakespeare; London: Penguin, 1966; revised edition 1977)
4677:
Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays
2277:
1058:'s diary on 24 January 1594, where Henslowe recorded a performance by
885:
is complicated by the existence of two other versions of the story; a
391:
is fictional, not historical, unlike Shakespeare's other Roman plays,
9480:
8953:
8805:
8741:
8329:
8188:
7938:
Willis, Deborah. ""The gnawing vulture": Revenge, Trauma Theory, and
7469:
Kendall, Gillian Murray. ""Lend me thy hand": Metaphor and Mayhem in
5921:
5879:
4491:
3641:
3630:
3611:
3607:
3469:
3382:
3095:'s 1989 production in Italy which evoked images of twentieth century
2961:
2953:
called Lavinia "almost too ghastly to behold". Michael Billington of
2923:
2886:
2845:
2681:
2652:
rather than gory realism was what made this production so stunning."
2607:
2590:
Later in 1967, as a direct reaction to Seale's realistic production,
2536:
2514:
but had controversially turned it down, and instead decided to stage
2387:
2297:
2225:
2220:
on the crime, establishing its significance to the play by making an
2009:
1973:
1114:
925:
866:
840:
739:
735:
687:
574:
570:
516:
441:. We know it is a later Rome because the emperor is routinely called
268:
192:
7992:
7243:
Fawcett, Mary Laughlin. "Arms/Words/Tears: Language and the Body in
7095:(Folger Shakespeare Library; Washington: Simon & Schuster, 2005)
6761:
Courtney Lehmann, "Film Adaptations: What is a Film Adaptation? or,
6336:
World Wide Shakespeare: Local Appropriations in Film and Performance
5098:
4956:
Shakespeare's Verse: Iambic Pentameter and the Poet's Idiosyncrasies
3519:
as Tamora, Hubert Baron Kelly as Aaron and Lucy Peacock as Lavinia.
9485:
9290:
8037:
7805:
Sommers, Alan. ""Wilderness of Tigers": Structure and Symbolism in
7497:
6849:(North Carolina: University of North Carolina Press, 1991), 292–314
5553:
An overview of this production can be found in Hughes (2006: 51–53)
5544:
All information on Doran’s production taken from Hughes (2006: 49).
5518:
An overview of the production can be found in Dessen (1989: 40–44).
5464:
An overview of the production can be found in Dessen (1989: 35–40).
5446:
An overview of the production can be found in Dessen (1989: 24–29).
5416:
An overview of this production can be found in Dessen (1989: 33–35)
3574:
3569:
was translated into English by Julian Hammond and performed at the
2890:
2817:
in August 1995, Robert Lloyd Parry argued "the questions raised by
2580:
2316:
2293:
2233:
2170:
2049:
1958:
1582:
1464:
1237:, which was completed on 27 June 1593. Verbal similarities between
913:
832:
670:
634:
598:
462:
450:
354:
The next day, during the feast at his house, Titus asks Saturninus
330:
224:
7446:: Mutilating Titus, Virgil, and Rome", in James Redmond (editor),
6985:(The New Shakespeare; Cambridge: Cambridge University Press, 1948)
6892:
and Shakespeare", in Leslie Stratyner and James R. Keller (eds.),
6386:
Sylvie Ballestra-Puech, "Violence and Melancholy in Shakespeare's
5945:"Titus Andronicus: Royal Shakespeare theatre, Stratford-upon-Avon"
1714:
felt sure enough of Shakespeare's authorship to include it in the
1696:
name the author, which was normal for Elizabethan plays. However,
1429:
1323:
8710:
8703:
8535:
8343:
8336:
7851:
Taylor, Gary and Doug Douhaime "Who Wrote the Fly Scene (3.2) in
7035:(The New Penguin Shakespeare, 2nd edition; London: Penguin, 2001)
4671:
See for example June Schlueter, "Rereading the Peacham Drawing",
3906:
3852:
3096:
2510:
2324:
2210:
2174:
1985:
1966:
1585:. Speaking of its apparent gratuitous violence, Kott argued that
816:
794:
790:
654:
617:
528:
335:
292:
288:
283:
272:
240:
239:
him. Their conflict seems set to boil over into violence until a
207:
157:
134:
74:
7955:(London: Oxford University Press, 1969; edited by Helen Gardner)
3558:(lack of meaning, insignificance). Written in prose rather than
3364:, both plays were performed by the same company of actors, with
2825:
has proved itself to be political theatre in the truest sense."
2531:
directed an extremely graphic and realistic presentation at the
2200:
8315:
7375:
Hulse, S. Clark. "Wresting the Alphabet: Oratory and Action in
7135:
The New History of Literature (Volume 3): English Drama to 1710
7070:(The Oxford Shakespeare; Oxford: Oxford University Press, 1984)
6827:(New Hampshire: University Press of New England, 1988), 144–150
5531:, 81:2 (February 2000); available on R1 Special Edition DVD of
4824:
Forman, Jonathan (30 December 1999). "Lion Queen Tames Titus".
4101:
3621:
at Shakespeare's Globe, the play was performed under the title
3504:
3175:
Another European adaptation came in 1637, when Dutch dramatist
3108:
3079:'s 1986 production in China, which drew political parallels to
2584:
2247:
2221:
2114:
1954:
1950:
1211:
1075:
1035:
812:
807:
802:
798:
663:
659:
646:
638:
590:
586:
582:
367:
363:
279:
Bassianus and the Andronici family, which he reluctantly does.
276:
8051:
7392:
The Mirror up to Shakespeare Essays in Honour of G. R. Hibbard
6810:(North Carolina: University of North Carolina Press, 1991), 30
3645:
flashbacks to their lives prior to the beginning of the play.
3152:). Transcribed by Frederick Menius, the play was a version of
3060:
as Titus, Katy Stephens as Tamora, Kevin Harvey as Aaron, and
2849:
mention of Mutius is absent; and over 100 lines were removed.
2543:
to make parallels between the contemporary period and that of
907:
The Golden Garland of Princely Pleasures and Delicate Delights
7049:(The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
6873:
Shakespeare on Television: An Anthology of Essays and Reviews
6825:
Shakespeare on Television: An Anthology of Essays and Reviews
3943:
3676:
3636:
In 2014, Noelle Fair and Lisa LaGrande adapted the play into
3293:
2391:
2150:
727:
649:, was exiled by Pelops for the murder of their half-brother,
496:
413:, presumed to have been at the time). Even the time in which
252:
244:
211:
175:
82:
7816:
Spencer, T. J. B. "Shakespeare and the Elizabethan Romans",
7696:
Papers of the Michigan Academy of Sciences, Arts and Letters
7155:(Durham, North Carolina: Duke University Press, 1985), 29–36
7153:
Renaissance Papers 1984: Southeastern Renaissance Conference
4486:
Jonathan Bate records only two printed plays prior to Q1 of
4023:
1881:
edition of 1994 and again in 2006, and Jonathan Bate in his
356:
if a father should kill his daughter when she has been raped
8005:
The History of Titus Andronicus, The Renowned Roman General
7888:
Ungerer, Gustav. "An Unrecorded Elizabethan Performance of
7599:
Shakespeare's Earliest Tragedy: Studies in Titus Andronicus
6728:
Shakespeare's Violated Bodies: Stage and Screen Performance
3927:
3855:
screened an adaptation of the play written and directed by
3680:
2918:, it starred Kotaro Yoshida as Titus, Rei Asami as Tamora,
2154:
1383:
was discovered in Sweden. Together with a 1594 printing of
1141:
hand. For example, in his 1953 edition of the play for the
922:
The History of Titus Andronicus, the Renowned Roman General
876:
711:
613:
594:
578:
458:
438:
4641:
Infinite Variety: Exploring the Folger Shakespeare Library
3056:
directed the play for the Royal Shakespeare Company, with
2319:
augment the violent imagery, not diminish it, because the
7768:
7249:
7140:
Brucher, Richard. ""Tragedy Laugh On": Comic Violence in
6966:
Titus Andronicus and Timon of Athens: Two Classical Plays
6739:
Jonathan Bate, "A Shakespeare tale whose time has come",
4010:
aired an adaptation directed by Martin Jenkins, starring
3987:
1949:. Perhaps the most obvious recurring motifs are those of
453:, and Brutus, suggesting that they learned about Brutus'
7722:
Scene 6 (= 4.1)", in Gary Taylor and Gabriel Egan (eds)
7340:
Hiles, Jane. "A Margin for Error: Rhetorical Context in
7193:
Christensen, Ann. ""Playing the Cook": Nurturing Men in
7042:(The Arden Shakespeare, 2nd Series; London: Arden, 1953)
6958:(The Arden Shakespeare, 3rd Series; London: Arden, 1995)
6938:(The Arden Shakespeare, 1st Series; London: Arden, 1912)
3393:
adapted the play into a German language comedy entitled
3214:
The earliest English language adaptation was in 1678 at
3187:, which may itself have been a composite of the English
2508:
as Lavinia. Brook had been offered the chance to direct
1700:
does list the play as one of Shakespeare's tragedies in
1081:
The Most Lamentable Romaine Tragedie of Titus Andronicus
538:
7088:(Oxford: Oxford University Press, 1986; 2nd edn., 2005)
7009:
The Norton Shakespeare: Based on the Oxford Shakespeare
6272:
Waith (1984: 87); Dessen (1989: 11); Barnet (2005: 154)
3462:
Anatomy Titus: Fall of Rome. A Shakespearean Commentary
162:
Tamora – Queen of the Goths; afterwards Empress of Rome
7450:(Cambridge: Cambridge University Press, 1991), 123–140
6929:
Shakespeare's Titus Andronicus: The First Quarto, 1594
6896:(North Carolina: McFarland & Company, 2009), 50–52
6469:(Cambridge: Cambridge University Press, 2013), 115–120
3773:
In 1999, Julie Taymor directed an adaptation entitled
2089:
Whose circling shadows, Kings have sought to sleep in,
150:
Bassianus – Saturninus's brother; in love with Lavinia
7432: . "Shakespeare's Brothers and Peele's Brethren
6875:(Hanover: University Press of New England, 1988), 146
3539:
Viol, d'après Titus Andronicus de William Shakespeare
2575:
and the Goths at the end of the play were dressed in
1487:, and is therefore of limited use to Shakespeareans.
1422:
As such, the text of the play that is today known as
329:
Back in Rome, Titus's behaviour suggests he might be
7862:
Tricomi, Albert H. "The Aesthetics of Mutilation in
7831:(London: Associated University Press, 2002), 121–142
7827:", in Lisa S. Starks and Courtney Lehmann (editors)
7601:(Madison: Farleigh Dickinson University Press, 1996)
6730:(Cambridge: Cambridge University Press, 2004), 24–31
5905:
4946:(Salzburg: Salzburg University Press, 1979), 147–153
4240:
Astraea: The Imperial Theme in the Sixteenth Century
3766:
adaptation, which cuts back on the violence, titled
3529:
Schändung: nach dem Titus Andronicus von Shakespeare
3164:
group of travelling players. The overriding plot of
2897:
awning which was intended to darken the auditorium.
2692:
in Ontario, Canada in 1978, when it was directed by
1516:. Speaking of the original play, Ravenscroft wrote,
909:(1620), but the date of its composition is unknown.
445:; because the characters are constantly alluding to
271:, but Titus refuses to listen, accusing them all of
7909:Waith, Eugene M. "The Metamorphosis of Violence in
7829:
The Reel Shakespeare: Alternative Cinema and Theory
7574: . "A Stylometric Comparison of Shakespeare's
7504:(Garden City, New York: Doubleday Publishing, 1964)
7394:(Toronto: Toronto University Press, 1983a), 171–188
7213:
A Time Analysis of the Plots of Shakespeare’s Plays
4801:. Charlie Rose.com. 19 January 2000. Archived from
2428:which had, at some stage previously, been acted at
2105:
And, lest thou shouldst detect him, cut thy tongue.
8075:, by Michael S. Kochin and Katherine Philippakis;
7652:Further Studies in English Language and Literature
7415:"Stage Directions and Speech Headings in Act 1 of
6120:
5910:
5840:
5807:
5748:
5658:
5567:
5064:(Cambridge: Cambridge University Press, 1949), 105
4728:T. S. Eliot, "Seneca in Elizabethan Translation",
4675:, 50:2 (Summer, 1999), 171–184 and Brian Vickers,
4060:
4058:
3679:, and included such moments as Lavinia singing an
2185:What will whole months of tears thy father's eyes?
7966:(Ithaca: Cornell University Press, 1991), 129–151
7753:(London: Longmans, 1961; edited by Graham Storey)
7751:Angel with Horns: Fifteen Lectures on Shakespeare
7438:Notes and Queries", 44:4 (November 1997), 494–495
4944:Studies in Attribution: Middleton and Shakespeare
4732:(New York: Harcourt, Brace & World, 1950), 67
4679:(Oxford: Oxford University Press, 2002), 149–150.
4242:(London: Routledge & Kegan Paul, 1975), 70–79
4043:, unless otherwise specified, are taken from the
2688:The play was performed for the first time at the
2161:He would not then have touched them for his life.
2159:And make the silken strings delight to kiss them,
2077:If I do dream, would all my wealth would wake me!
2061:, "to lend one's hand is to risk dismemberment."
1467:. The drawing appears to depict a performance of
623:Titus's revenge may also have been influenced by
543:Tereus Confronted with the Head of his Son Itylus
178:; involved in a romantic relationship with Tamora
153:Sempronius, Caius and Valentine – Titus's kinsmen
9537:
7197:", in Holger Klein and Rowland Wymer (editors),
6997:(Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
4063:The Privileged Playgoers of Shakespeare's London
3733:as Lavinia, but the project never materialised.
2167:He would have dropped his knife and fell asleep,
1366:The Most Lamentable Tragedie of Titus Andronicus
503:, who based his work on that of writers such as
481:the political institutions that Rome ever had."
360:baked in the pies Tamora has already been eating
127:Young Lucius – Lucius's son and Titus's grandson
7857:The New Oxford Shakespeare Authorship Companion
7729:Reese, Jack E. "The Formalization of Horror in
7726:(Oxford: Oxford University Press, 2017): 92-106
7724:The New Oxford Shakespeare Authorship Companion
7270:(Manchester: Manchester University Press, 2024)
7226:(Manchester: Manchester University Press, 1989)
7019:The Most Lamentable Tragedy of Titus Andronicus
6915:
6905:All information in this section comes from the
6847:The BBC Shakespeare: Making the Televised Canon
6808:The BBC Shakespeare: Making the Televised Canon
6467:Shakespeare Beyond English: A Global Experiment
5843:"Titus Andronicus: Shakespeare's Globe, London"
5565:
4595:(Oxford: Oxford University Press, 1987), 69–144
4572:(Oxford: Oxford University Press, 1987), 69–144
3036:directed a modern military dress production at
2885:, who took as his inspiration a feature of the
2761:In 1994, Julie Taymor directed the play at the
2183:One hour's storm will drown the fragrant meads;
374:, and Aaron is taken away to be punished thus.
7859:(Oxford: Oxford University Press, 2017): 67-91
7480:Kochin, Michael S. and Katherine Philippakis.
7463:Roman Shakespeare: Warriors, Wounds, and Women
6968:(The RSC Shakespeare; London: Macmillan, 2008)
5656:
5021:
4780:
4778:
3750:featured a very loose adaptation of the play.
3274:African–American actor Ira Aldridge as Aaron,
2479:as part of a double bill with Robert Greene's
2406:, in which Lucius had been renamed Vespasian.
2350:The earliest definite recorded performance of
2187:Do not draw back, for we will mourn with thee;
2139:But, lovely niece, that mean is cut from thee.
2097:Like to a bubbling fountain stirred with wind,
2083:Speak, gentle niece, what stern ungentle hands
2073:Who is this? My niece that flies away so fast?
837:History of the Empire from the Death of Marcus
9276:
8126:
7290:Staged Transgression in Shakespeare's England
7113:(New York: New York Publishing Company, 1998)
6888:'Yon Fart Doth Smell of Elderberries Sweet':
6871:", in J. C. Bulman and H. R. Coursen (eds.),
6823:", in J. C. Bulman and H. R. Coursen (eds.),
6604:
6303:, 26 April 1857; quoted in Barnet (2005: 155)
6185:Foreign Shakespeare: Contemporary Performance
6081:
5629:
5610:British Universities Film & Video Council
5569:"Death, mutilation – and not a drop of blood"
4506:, with both plays advertised as performed by
3496:, and is still regularly revived in Germany.
3452:
3331:staged a thirty-five-minute version entitled
2123:O, that I knew thy heart, and knew the beast,
2107:Ah, now thou turn'st away thy face for shame;
2085:Hath lopped, and hewed and made thy body bare
1833:Dramatic tales founded on Shakespeare's plays
287:cut off her hands. Meanwhile, Aaron writes a
7442:James, Heather. "Cultural Disintegration in
7278:Royal Shakespeare Theatre Company, 1960–1963
7224:Shakespeare in Performance: Titus Andronicus
7091:Werstine, Paul and Mowat, Barbara A. (eds.)
6867:Mary Maher, "Production Design in the BBC's
5975:
5789:
5691:
4490:which mention more than one acting company;
4087:
4085:
3553:
3537:
3527:
3449:
3394:
3202:Miss P. Hopkins as Lavinia in Ravenscroft's
3143:
3137:
2986:
2940:
2587:, arguing that it created a mixed metaphor.
2308:
2131:Fair Philomela, why she but lost her tongue,
2121:Shall I speak for thee? Shall I say 'tis so?
2111:As from a conduit with three issuing spouts,
2018:Lose not so noble a friend on vain suppose.
2014:Whose fury not dissembled speaks his griefs.
9073:
7313:Research Opportunities in Renaissance Drama
7162:(New York: Columbia University Press, 1966)
6907:British Universities Film and Video Council
6118:
5868:
5694:"Shakespeare in War, More Timely Than Ever"
5535:; 20th Century Fox Home Entertainment, 2000
5405:Shakespeare on the English Stage, 1900–1964
5026:. Manchester: Manchester University Press.
4788:; 20th Century Fox Home Entertainment, 2000
4775:
4719:(London: George Bell & Sons, 1879), 442
4643:(University of Washington Press, 2002), 155
4523:See Waith (1984: 8) and Massai (2001: xxiv)
3543:
3536:), also commonly known by its French name,
3534:Rape: After Titus Andronicus by Shakespeare
2181:For such a sight will blind a father's eye.
2179:Come, let us go, and make thy father blind,
2145:That could have better sowed then Philomel.
2129:Doth burn the heart to cinders where it is.
2109:And notwithstanding all this loss of blood,
2093:As half thy love? Why dost not speak to me?
2087:Of her two branches, those sweet ornaments,
1562:", and its only suitable director would be
1371:Q1 is considered a 'good text' (i.e. not a
896:The first definite reference to the ballad
893:(both of which are anonymous and undated).
9283:
9269:
8133:
8119:
7679:Parrott, T. M. "Shakespeare's Revision of
7086:The Oxford Shakespeare: The Complete Works
7063:(Oxford: Oxford University Press, 2016-17)
6936:The Lamentable Tragedy of Titus Andronicus
6605:O'Donnell, Sean Michael (21 August 2007).
6281:Dessen (1989: 11–12) and Hughes (2006: 29)
5942:
5527:Stephen Pizzello, "From Stage to Screen",
4466:Shakespeare's Impact on his Contemporaries
4264:(San Marino: Huntington Library, 1967), 87
3401:Titus Andronicus: Comedy After Shakespeare
3396:Titus Andronicus: Komödie nach Shakespeare
3070:Historic Jersey City and Harsimus Cemetery
3024:as Tamora, Colleen Delany as Lavinia, and
2103:But sure some Tereus hath deflowered thee,
2099:Doth rise and fall between thy ros'd lips,
1851:also argued that Shakespeare wrote alone.
1401:The Lamentable Tragedy of Titus Andronicus
255:. Despite Tamora's desperate pleas, Titus
171:Alarbus – Tamora's son (non-speaking role)
95:disapproved of it, largely because of its
38:The Lamentable Tragedy of Titus Andronicus
8043:"Lucius, the Severely Flawed Redeemer of
7836:"Lucius, the Severely Flawed Redeemer of
7712:Journal of English and Germanic Philology
6053:
5991:Paul Taylor, "Review of Yukio Ninagawa's
5719:
5561:
5559:
5141:(New York: Barnes & Noble, 1968), 306
4082:
4067:. Princeton: Princeton University Press.
2872:as Titus, Geraldine Alexander as Tamora,
2143:And he hath cut those pretty fingers off,
2141:A craftier Tereus, cousin, hast thou met,
2125:That I might rail at him to ease my mind!
2079:If I do wake, some Planet strike me down,
1490:
7933:William Shakespeare: a Textual Companion
7518:Law, Robert A. "The Roman Background of
7137:(New York: Peter Bedrick, 1971), 148–181
7059:; Terri Bourus, and Gabriel Egan (eds.)
6717:(Göttingen: Hubert & Co., 2010), 115
6715:Questioning Bodies in Shakespeare's Rome
6644:. The DoG Street Journal. Archived from
6635:
5746:
4604:See Winifred Frazer, "Henslowe's "ne"",
4593:William Shakespeare: A Textual Companion
4570:William Shakespeare: A Textual Companion
4541:See Bate (1995: 75) and Hughes (2006: 3)
3912:
3831:as Tathagat Ahuja (representing Titus),
3725:planned to make a feature film starring
3269:
3197:
2899:
2851:
2424:as one of twenty-one plays owned by the
2408:
2276:
2199:
2147:O, had the monster seen those lily hands
2119:Blushing to be encountered with a cloud.
2031:
1921:
1826:
1636:
1621:In his 1987 edition of the play for the
1428:
1322:
1177:
1041:
1029:
916:form some time between 1736 and 1764 by
877:Ballad, prose history, and source debate
537:
313:
223:
133:Marcus Andronicus – Titus's brother and
31:
8140:
7906:(Oxford: Oxford University Press, 2002)
7629:and the Mythos of Shakespeare’s Rome",
7482:"Rape and Civilization in Shakespeare."
7457:(Oxford: Oxford University Press, 1977)
7386:Hunter, G. K. "Sources and Meanings in
7233:(Oxford, Oxford University Press, 1995)
7111:Shakespeare: The Invention of the Human
6797:(Rouen: Université de Rouen, 2008), 338
6700:(Rouen: University of Rouen, 2008), 340
6478:
6411:
5805:
5750:"Titus Andronicus, Stratford-upon-Avon"
5082:
4717:Lectures on Dramatic Art and Literature
2471:staged the play under the direction of
2390:, who ruled from 69 to 79, and his son
2189:O, could our mourning ease thy misery!
2127:Sorrow conceal'd, like an oven stopped,
2101:Coming and going with thy honey breath.
2091:And might not gain so great a happiness
2016:Then at my suit look graciously on him;
1546:Shakespeare: The Invention of the Human
1249:Henry Percy, 9th Earl of Northumberland
991:). In his 1984 edition of the play for
9538:
8073:"Rape and Civilization in Shakespeare"
7331:: The Form of Shakespearean Tragedy",
6795:Shakespeare on Screen: The Roman Plays
6769:(Westport: Greenwood Press, 2006), 130
6698:Shakespeare on Screen: The Roman Plays
6082:Dziemianowicz, Joe (1 December 2011).
5556:
4823:
4630:(Cambridge University Press, 2003), 23
3884:as Tamora, Hugh Quarshie as Aaron and
3835:as Tulsi Joshi (representing Tamora),
3800:William Shakespeare's Titus Andronicus
3703:New York International Fringe Festival
3601:and with an all-male cast, it starred
3323:The next adaptation was in 1951, when
2262:in 1987, which used an unedited text,
2075:Cousin, a word: where is your husband?
1444:
865:. Bassianus's name probably came from
855:) are "false, envious and malicious."
770:speculates that he may be named after
569:, Ovid tells the story of the rape of
457:from the same literary sources we do,
377:
9264:
8885:Complete Works of William Shakespeare
8114:
7654:(Jerusalem: Magnes Press, 1975), 1–18
6438:
6033:(2007 – Shakespeare Theatre Company)"
5763:from the original on 10 December 2022
5291:Bate (1995: 70) and Hughes (2006: 13)
4313:(London: Bibliographic Society, 1939)
3255:was performed for four nights at the
3179:wrote a version of the play entitled
2163:Or, had he heard the heavenly harmony
1327:Title page of the third quarto (1611)
1157:was actually his first play, written
515:, who borrowed from, amongst others,
7099:
6931:(New York: C. Scribner's Sons, 1936)
6506:
6412:Croggon, Alison (29 November 2008).
5943:Billington, Michael (22 June 2006).
5822:from the original on 12 January 2022
5673:from the original on 12 January 2022
5582:from the original on 12 January 2022
2095:Alas, a crimson river of warm blood,
2081:That I may slumber in eternal sleep!
2004:I should be author to dishonour you.
1942:than has hitherto been allowed for.
1877:edition of 1985, Alan Hughes in his
1608:death. In reading, the cruelties of
1335:and R.T. Rickert, modern editors of
1136:alongside it, Jonson is saying that
320:The Works of Mr. William Shakespeare
9245:
7798:. "Rereading the Peacham Drawing",
7643:(London: Routledge, 1977; rpt 2005)
7007:and Maus, Katharine Eisaman (eds.)
6338:(New York: Routledge, 2005), 88–94.
5747:Macaulay, Alastair (22 June 2006).
2745:directed a realistic production at
2052:related to violence: "the world of
2006:But on mine honour dare I undertake
1495:
1399:text of 1623 (F1), under the title
843:theory which he could have seen in
23:. For the 17th century ballad, see
13:
9060:Shakespeare's influence on Tolkien
7784:Sargent, Ralph M. "The Sources of
7690:Price, Hereward. "The Language of
7641:The Sources of Shakespeare's Plays
7419:Q (1594): Shakespeare or Peele?",
7322:A Shakespeare Companion, 1564–1964
7208:(London: St. Martin's Press, 1993)
6666:
6613:. New York Theatre. Archived from
5841:Michael Billington (1 June 2006).
4958:(New York: P. Lang, 1987), 121–124
4799:"A conversation with Julie Taymor"
3960:based an episode on the play. In "
3649:Gary: A Sequel to Titus Andronicus
3111:which acted as a metaphor for the
2372:Sir John Harington, Baron of Exton
2165:Which that sweet tongue hath made,
1785:Reliques of Ancient English Poetry
115:Lucius – Titus's eldest living son
14:
9617:
8008:– text of the prose history from
7971:
7877: . "The Mutilated Garden in
7492:Titus Andronicus: Critical Essays
7206:Shakespeare's Culture of Violence
6582:. Bunport Theatre. Archived from
6531:"Interpreting Her Martyr'd Signs"
6139:from the original on 21 June 2022
6088:has more than gore at the Public"
6054:Wingfield, Kate (12 April 2007).
4925:Dover Wilson (1948: xxxvi–xxxvii)
4889:(Wisconsin: Banta, 1931), 114–119
4784:Julie Taymor, DVD commentary for
4376:Hunter (1983a) and Hunter (1983b)
3265:History of the Philadelphia Stage
2224:of the mutilated woman". Actress
2064:No discussion of the language of
1847:Peele as co-author, and in 1943,
1770:, and in the nineteenth century,
912:The prose was first published in
881:Any discussion of the sources of
9591:British plays adapted into films
9403:
9340:
9244:
9235:
9234:
8588:
8026:
7351:Hill, R. F. "The Composition of
7126:, 42:3 (September 1995), 300–307
6899:
6878:
6861:
6852:
6839:
6830:
6813:
6800:
6787:
6772:
6755:
6746:
6733:
6720:
6703:
6690:
6660:
6636:Cleverly, Casey (6 April 2007).
6629:
6598:
6580:"Bunport Theater Review Archive"
6572:
6563:
6545:
6523:
6507:Choy, Howard (23 January 2013).
6500:
6472:
6459:
6439:Allan, Alice (13 October 2008).
6432:
6405:
6380:
6367:
6350:
6341:
6324:
6315:
6306:
6293:
6284:
6275:
6266:
6257:
6248:
6239:
6230:
6221:
6212:
6203:
6190:
6177:
6151:
6112:
6075:
6047:
6021:
6004:
5985:
5964:
5936:
5899:
5862:
5834:
5806:Spencer, Charles (1 June 2006).
5799:
5778:
5740:
5713:
5685:
5650:
5623:
5594:
5566:Benjamin Secher (10 June 2006).
5547:
5538:
5521:
5512:
5503:
5494:
5485:
5476:
5467:
5458:
5449:
5440:
5428:
5419:
5410:
5397:
5388:
5379:
5370:
5361:
5348:
5339:
5330:
5321:
5312:
5303:
5294:
5285:
5276:
5267:
5258:
5249:
5240:
5231:
5219:
5210:
3210:'s edition of Shakespeare (1776)
3139:Englische Comedien und Tragedien
3113:struggles of the Croatian people
1368:, printed by Edward Allde (Q3).
1093:James Orchard Halliwell-Phillips
1020:
81:, presents Tamora, Queen of the
9305:
8023:– text of the ballad from 1620.
7953:Shakespearean and Other Studies
7935:(Oxford: Clarendon Press, 1987)
7615:, 216:2 (Summer, 1971), 131–134
7546:The History of Titus Andronicus
7409:, 30:2 (Summer, 1983b), 114–116
7084:and Montgomery, William (eds.)
6946:The Tragedy of Titus Andronicus
6479:Dickson, Andrew (10 May 2012).
6035:. Shakespeare Internet Editions
5657:Rebecca Tyrrel (18 June 2006).
5201:
5192:
5183:
5174:
5144:
5131:
5122:
5113:
5076:
5067:
5054:
5022:Freebury-Jones, Darren (2024).
5015:
5006:
4997:
4988:
4979:
4970:
4961:
4949:
4937:
4928:
4919:
4910:
4901:
4892:
4879:
4870:
4861:
4852:
4843:
4834:
4817:
4791:
4762:
4753:
4744:
4735:
4722:
4709:
4700:
4691:
4682:
4665:
4656:
4646:
4633:
4620:
4611:
4598:
4584:
4575:
4562:
4553:
4544:
4535:
4526:
4517:
4480:
4471:
4458:
4449:
4424:
4415:
4406:
4397:
4388:
4379:
4370:
4361:
4352:
4343:
4334:
4325:
4316:
4303:
4294:
4285:
4276:
4267:
4254:
4245:
4232:
4223:
4214:
4205:
4196:
4187:
4178:
4169:
3638:Interpreting her Martyr'd Signs
3478:emigration and defection issues
3343:. Produced in the tradition of
2598:'s Shakespeare Festival at the
2561:Hiroshima and Nagasaki bombings
2048:A further significant motif is
1912:Shakespeare's Borrowed Feathers
819:, a violent and uncompromising
9065:Works titled after Shakespeare
8055:, 6:2 (Summer, 1997), 138–157.
7962:", in Valerie Wayne (editor),
7802:, 50:2 (Summer, 1999), 171–184
7781:, 51:4 (Winter, 1936), 689–701
7772:, 49:3 (Autumn, 1982), 576–601
7676:, 14:4 (Winter, 1972), 320–339
7622:, 53:4 (Winter, 2002), 487–511
7567:, 28:2 (Summer, 1977), 154–169
7552:, 22:4 (Winter, 1975), 163–166
7539:7th World Shakespeare Congress
7477:, 40:3 (Autumn, 1989), 299–316
7383:, 21:2 (Spring, 1979), 106–118
7366:: Metamorphosis and Renewal,"
7337:, 14:2 (Summer, 1963), 203–207
7253:, 50:2 (Summer, 1983), 261–277
7116:Boyd, Brian. "Common Words in
6553:"A Sequel to Titus Andronicus"
6254:Halliday (1964: 399, 403, 497)
5970:Neil Allan and Scott Revers, "
5358:(London: Winchester, 1949), 51
4581:Foakes and Rickert (1961, xxx)
4432:"Titus Andronicus, 1600, f.1r"
4160:
4151:
4142:
4133:
4124:
4115:
4094:
4052:
3665:Titus Andronicus: The Musical!
3126:
3008:directed a production for the
2721:in 1988 for the RSC, starring
2690:Stratford Shakespeare Festival
2675:as Lavinia. Colin Blakely and
2345:
2113:Yet do thy cheeks look red as
645:, who, along with his brother
577:, King of Athens. Despite ill
477:, but rather that it includes
1:
9225:Shakespeare and other authors
8065:Early Modern Literary Studies
8009:
7848:, 6:2 (Summer, 1997), 138–157
7650:", in A.A. Mendilow (editor)
7511:: The Fly-Killing Incident",
7280:(London: Max Reinhardt, 1964)
6934:Baildon, Henry Bellyse (ed.)
6334:", in Sonia Massai (editor),
6016:Early Modern Literary Studies
5139:Shakespeare's Early Tragedies
5119:Dover Wilson (1948: liii–liv)
5046:: CS1 maint: date and year (
4029:
3954:In 2001, the animated sitcom
3846:
3843:as Loveleen Ahuja (Lavinia).
3651:, an absurdist comic play by
3610:, and his baby 'played' by a
3275:
2788:directed a production at the
1790:Globe Illustrated Shakespeare
1782:wrote in the introduction to
1678:
1434:
1169:
1158:
1147:
1050:The earliest known record of
898:"Titus Andronicus' Complaint"
873:and the other to popularity.
849:The Kalendayr of the shyppars
680:
559:
147:; afterwards declared Emperor
143:Saturninus – Son of the late
102:
9350:
9107:Shakespeare Birthplace Trust
7946:, 53:1 (Spring, 2002), 21–52
7792:, 46:2 (April 1949), 167–183
7737:, 21:1 (Spring, 1970), 77–84
7646:Nevo, Ruth. "Tragic Form in
7526:, 40:2 (April 1943), 145–153
7502:Shakespeare Our Contemporary
7348:, 21:2 (Summer, 1987), 62–75
7177:, 51:3 (Fall, 2004), 267–269
6836:Quoted in Barnet (2005: 159)
5912:"Review of Yukio Ninagawa's
5796:, 70:2 (Autumn, 2006), 49–51
5692:Ben Brantley (8 July 2006).
4034:
3851:In 1970, Finnish TV channel
3587:Malthouse Theatre, Melbourne
2571:officer; the Andronici wore
2482:Friar Bacon and Friar Bungay
2414:Philip James de Loutherbourg
1286:, particularly the study of
1097:Edinburgh University Library
7:
9470:Titus Andronicus' Complaint
8913:English Renaissance theatre
8756:The Second Maiden's Tragedy
8735:The Merry Devil of Edmonton
8267:The Two Gentlemen of Verona
8063:, by Brecken Rose Hancock;
8036:public domain audiobook at
8020:Titus Andronicus' Complaint
7928:, 79:1 (Spring 1982), 62–77
7715:, 42:1 (Spring 1943), 55–81
7705: . "The Authorship of
7466:(New York: Routledge, 1997)
6964:and Rasmussen, Eric (eds.)
6858:Quoted in Dessen (1989: 44)
6533:. For Love and Duty Players
6481:"Titus Andronicus – review"
6443:Anatomy Titus: Fall of Rome
6416:Anatomy Titus: Fall of Rome
6360:at the Deutsches Theater",
6358:Anatomie Titus Fall of Rome
6218:Dover Wilson (1948: lxviii)
5869:Sam Marlowe (1 June 2006).
5425:Quoted in Dessen (1989: 24)
4059:Cook, Ann Jennalie (1981).
3768:Titus Andronicus: The Movie
3659:
3522:In 2005, German playwright
3444:In 1984, German playwright
3421:The Two Gentlemen of Verona
3010:Shakespeare Theatre Company
2792:, which also played at the
2594:directed a performance for
1917:
1905:published in the edition's
219:
10:
9622:
9081:Folger Shakespeare Library
8627:The Phoenix and the Turtle
8217:The Merry Wives of Windsor
8093:BBC Television Shakespeare
8047:", by Anthony Brian Taylor
7559: . "Stage History of
7455:The Origins of Shakespeare
7390:", in J. C. Gray (editor)
7324:(Baltimore: Penguin, 1964)
7240:(London: Hutchinson, 1951)
7120:: The Presence of Peele",
7061:The New Oxford Shakespeare
6765:", in Richard Burt (ed.),
6377:, 58:2 (May 2006), 313–314
6119:Alice Jones (9 May 2013).
4849:Quoted in Waith (1984: 12)
4291:Quoted in Waith (1984: 83)
4273:Quoted in Waith (1984: 87)
3919:BBC Television Shakespeare
3869:BBC Television Shakespeare
3862:In 1985, the BBC produced
3839:as Arun Kumar (Aaron) and
3595:Queensland Theatre Company
3503:directed a heavily edited
3457:. Ein Shakespearekommentar
3066:Hudson Shakespeare Company
3014:Harman Center for the Arts
2563:. Saturninus was based on
2341:Themes in Titus Andronicus
2338:
1682:
1652:, who staged a production
1512:'s theatrical adaptation,
1448:
1381:Folger Shakespeare Library
1112:that "He that will swear,
867:Lucius Septimius Bassianus
829:The Arte of English Poesie
608:; the tale of the rape of
484:
382:
130:Lavinia – Titus's daughter
18:
9596:Plays set in ancient Rome
9571:English Renaissance plays
9566:Fiction about cannibalism
9446:
9402:
9349:
9338:
9304:
9219:
9130:
9100:Royal Shakespeare Theatre
9095:Royal Shakespeare Company
9002:
8859:
8830:
8659:
8650:
8597:
8586:
8518:
8490:
8381:
8291:
8224:A Midsummer Night's Dream
8168:All's Well That Ends Well
8157:
8148:
7590:, 29:1 (Spring, 1979), 42
7548:and Shakespeare's Play",
7494:(New York: Garland, 1995)
7259:and Rickert R. T. (eds.)
7045:MacDonald, Russell (ed.)
6994:The Riverside Shakespeare
6640:Tragedy! A Musical Comedy
6609:Tragedy! A Musical Comedy
6511:. MIT Global Shakespeares
6159:"Fear Blood Soaked Titus"
6018:, Special Issue 21 (2013)
5660:"Tongueless in Stratford"
5207:Massai (2001: xxxi–xxxvi)
5156:Royal Shakespeare Company
5012:Taylor and Duhaime (2017)
4730:Selected Essays 1917–1932
4706:Quoted in Bate (1995: 33)
4697:Quoted in Bate (1995: 79)
4468:(London: Macmillan, 1982)
4331:Dover Wilson (1948: viii)
3975:Unbreakable Kimmy Schmidt
3899:Royal College of Surgeons
3699:Tragedy! A Musical Comedy
3544:
3453:
3389:In 1970, Swiss dramatist
3218:, by Edward Ravenscroft:
3045:(who was nominated for a
2800:, South Africa, starring
2490:Royal Shakespeare Theatre
2334:
1234:The Unfortunate Traveller
1010:New Cambridge Shakespeare
728:Titus Flavius Vespasianus
653:. They take up refuge in
533:Giovanni Battista Giraldi
25:Titus Andronicus (ballad)
8238:Pericles, Prince of Tyre
7401: . "The Sources of
7266:Freebury-Jones, Darren.
7190:, 99:4 (2004), 1030–1031
5529:American Cinematographer
5327:Dover Wilson (1948: xli)
5309:Halliday (1964: 496–497)
4741:Dover Wilson (1948: xii)
4639:Esther Ferington (ed.),
4617:Dover Wilson (1948: vii)
3981:
3808:Providence, Rhode Island
3669:Buntport Theater Company
3617:In 2012, as part of the
3591:Bell Shakespeare Company
3482:1973 Chilean coup d'état
3142:contained a play called
3131:
2763:Theater for the New City
1849:Hereward Thimbleby Price
1818:John Mackinnon Robertson
1623:Contemporary Shakespeare
1244:The Honour of the Garter
1241:and George Peele's poem
1034:Title page of the first
942:Joseph Quincy Adams, Jr.
732:Andronicus V Palaeologus
535:, and Bandello himself.
247:. Titus arrives to much
165:Demetrius – Tamora's son
112:– renowned Roman general
9576:Shakespearean tragedies
9429:Scott Tenorman Must Die
9395:(late third century AD)
8246:The Taming of the Shrew
8107:(Julie Taymor Version).
8067:, 10:1 (May 2004), 1–25
7834:Taylor, Anthony Brian.
7763:(London: Collins, 1973)
7490:Kolin, Philip C. (ed.)
7422:Studies in Bibliography
7199:Shakespeare and History
7066:Waith, Eugene M. (ed.)
6362:Western European Stages
5774:(subscription required)
5728:. British Theatre Guide
5638:. British Theatre Guide
4985:Vickers (2002: 219–239)
4967:Jackson (1996: 138–145)
3962:Scott Tenorman Must Die
3716:
3695:would have made of it.
3619:Globe to Globe Festival
3581:, the Playhouse in the
3409:Wolf Graf von Baudissin
3299:Zaraffa, the Slave King
2933:The horror! The horror!
2911:Complete Works Festival
1806:August Wilhelm Schlegel
1776:Samuel Taylor Coleridge
1706:in 1598. Additionally,
1656:in 1994 and directed a
1527:August Wilhelm Schlegel
1354:
1089:University of Edinburgh
1025:
766:. As for Lucius' name,
740:Andronicus and the lion
692:Appius Claudius Crassus
690:of the Roman Republic,
593:and has a son for him,
297:sentences them to death
21:Titus Andronicus (band)
9586:Fiction about filicide
9561:Fiction about amputees
8928:Lord Chamberlain's Men
8839:The Passionate Pilgrim
8612:comparison to Petrarch
8231:Much Ado About Nothing
8210:The Merchant of Venice
7685:Modern Language Review
7661:A Shakespeare Glossary
7588:Shakespeare Newsletter
7541:, Valencia, April 2001
7372:, 67:4 (1972), 730–741
7369:Modern Language Review
7187:Modern Language Review
7011:(London: Norton, 1997)
6373:Mechele Leon, Review,
5976:
5790:
5630:Philip Fisher (2006).
5216:Palmer (1972: 321–322)
4840:Vickers (2002: 152n11)
4464:See E.A.J. Honigmann,
3972:The Netflix TV series
3922:
3866:of the play for their
3707:Lucille Lortel Theatre
3685:Oops!...I Did It Again
3554:
3538:
3528:
3526:adapted the play into
3472:, the erection of the
3450:
3448:adapted the play into
3424:for the RSC, starring
3395:
3321:
3281:
3211:
3144:
3138:
3107:'s 1992 production in
2987:
2941:
2905:
2857:
2811:Received Pronunciation
2807:South African politics
2790:Royal National Theatre
2747:Shakespeare Santa Cruz
2417:
2364:Lord Chamberlain's Men
2356:Titus & ondronicus
2309:
2289:
2252:
2205:
2198:
2037:
2027:
1930:
1903:New Oxford Shakespeare
1887:Shakespeare, Co-Author
1836:
1645:
1619:
1491:Analysis and criticism
1441:
1328:
1216:Lord Chamberlain's Men
1183:
1106:wrote in a preface to
1064:Titus & ondronicus
1047:
1039:
994:The Oxford Shakespeare
971:). On the other hand,
754:Titus & Ondronicus
581:, Philomela's sister,
549:
326:
232:
140:Publius – Marcus's son
47:
9581:Plays by George Peele
9118:Shakespeare Institute
9087:Shakespeare Quarterly
8606:Shakespeare's sonnets
8274:The Two Noble Kinsmen
8079:, September 28, 2023.
7944:Shakespeare Quarterly
7800:Shakespeare Quarterly
7746:(London: Watts, 1905)
7735:Shakespeare Quarterly
7620:Shakespeare Quarterly
7565:Shakespeare Quarterly
7475:Shakespeare Quarterly
7413:Jackson, Macdonald P.
7334:Shakespeare Quarterly
7217:New Shakspere Society
6709:Mariangela Tempera, "
5978:Cahiers Élisabéthains
5792:Cahiers Élisabéthains
5086:Shakespeare Quarterly
5062:Shakespearean Tragedy
4976:Chernaik (2004: 1030)
4876:Parrott (1919: 21–27)
4867:Robertson (1905: 479)
4673:Shakespeare Quarterly
4340:Bullough (1966: 7–20)
4262:The Early Shakespeare
3916:
3723:Robert Hartford-Davis
3488:, it was directed by
3486:Schauspielhaus Bochum
3316:
3273:
3257:Walnut Street Theatre
3240:, which was owned by
3201:
3185:Adriaen Van den Bergh
2988:Cahiers Élisabéthains
2943:Cahiers Élisabéthains
2903:
2855:
2627:, one must shock the
2412:
2280:
2243:
2203:
2070:
2035:
2008:For good Lord Titus'
1998:Not so, my lord; the
1995:
1925:
1879:Cambridge Shakespeare
1830:
1640:
1587:
1581:One such scholar was
1433:The Peacham drawing (
1432:
1326:
1181:
1166:Cambridge Shakespeare
1045:
1033:
541:
317:
227:
168:Chiron – Tamora's son
137:to the people of Rome
121:Martius – Titus's son
118:Quintus – Titus's son
35:
9556:Plays about adultery
8974:Spelling of his name
8814:Vortigern and Rowena
8792:Thomas Lord Cromwell
8372:Troilus and Cressida
8302:Antony and Cleopatra
8196:Love's Labour's Lost
8182:The Comedy of Errors
7926:Studies in Philology
7896:, 14 (1961), 102–109
7813:, 10 (1960), 275–289
7790:Studies in Philology
7698:, 21 (1935), 501–507
7524:Studies in Philology
7487:, 28 September 2023.
7425:, 49 (1996), 134–148
7362:Huffman, Clifford. "
7315:, 13 (1970), 143–168
7165:Carroll, James D., "
7158:Bullough, Geoffrey.
7031:Massai, Sonia (ed.)
6971:Cross, Gustav (ed.)
6925:Adams, Joseph Quincy
6402:, 31 (December 2010)
5907:Benedict Nightingale
5809:"The horror endures"
4455:Maxwell (1953: xxvi)
3888:as Lavinia. Because
3886:Anna Calder-Marshall
3872:series. Directed by
3509:The Comedy of Errors
3391:Friedrich Dürrenmatt
3357:The Comedy of Errors
3339:presentation at the
3238:Lincoln's Inn Fields
2968:Benedict Nightingale
1907:Authorship Companion
1407:text). However, the
1253:Knight of the Garter
1072:Stationers' Register
780:Lucius Junius Brutus
749:Epistolas familiares
708:Stationers' Register
686:). Around 451 BC, a
455:new founding of Rome
400:Antony and Cleopatra
124:Mutius – Titus's son
9459:Authorship question
9292:William Shakespeare
9198:Richard Shakespeare
9180:Gilbert Shakespeare
9112:Shakespeare's Globe
9017:Authorship question
9012:Attribution studies
8979:Stratford-upon-Avon
8821:A Yorkshire Tragedy
8799:Thomas of Woodstock
8785:The Spanish Tragedy
8726:Love's Labour's Won
8718:The London Prodigal
8675:The Birth of Merlin
8634:The Rape of Lucrece
8620:A Lover's Complaint
8500:Quarto publications
8203:Measure for Measure
8142:William Shakespeare
7883:Shakespeare Studies
7811:Essays in Criticism
7631:Shakespeare Studies
7513:Shakespeare Studies
7507:Kramer, Joseph E. "
7229:Dobson, Michael S.
7180:Chernaik, Warren. "
7038:Maxwell, J.C (ed.)
7024:Hughes, Alan (ed.)
7001:Greenblatt, Stephen
6989:Evans, G. Blakemore
6763:Shakespeare du jour
6726:Pascale Aebischer,
6617:on 24 February 2012
6569:Hughes (2006: 47n2)
6093:New York Daily News
5815:The Daily Telegraph
5666:The Daily Telegraph
5575:The Daily Telegraph
5509:Hughes (2006: 47n1)
5455:Massai (2001: lxxx)
5376:Waith (1984: 50–51)
5354:Harcourt Williams,
5300:Ungerer (1961: 102)
5264:Kendall (1989: 300)
5246:Massai (2001: xxxi)
5198:Vickers (2002: 240)
5073:Waith (1984: 84n23)
4916:Price (1943: 55–65)
4907:Sampley (1936: 693)
4898:Vickers (2002: 137)
4885:Philip Timberlake,
4750:Bloom (1998; 77–86)
4550:Massai (2001: xxiv)
4403:Massai (2001: xxix)
4385:Waith (1984: 30–34)
4282:Hunter (1983b: 183)
4229:Bullough (1964: 24)
4211:Waith (1984: 28–29)
4175:Waith (1984: 27–28)
4121:Huffman (1972: 735)
3996:BBC Third Programme
3555:Bedeutungslosigkeit
3501:Jeanette Lambermont
3253:Nathaniel Bannister
3204:The Rape of Lavinia
3085:Cultural Revolution
3041:production starred
2950:The Daily Telegraph
2862:Shakespeare's Globe
2815:Plays International
2751:J. Kenneth Campbell
2549:concentration camps
2430:Blackfriars Theatre
2396:Titus and Vespasian
2384:Titus and Vespasian
2380:Titus and Vespasian
1897:and an analysis of
1445:The Peacham drawing
1268:The Rape of Lucrece
1129:The Spanish Tragedy
1005:Penguin Shakespeare
378:Setting and sources
61:William Shakespeare
46:, published in 1623
16:Play by Shakespeare
9601:Fiction about rape
9387:(first century AD)
9327:Emperor Saturninus
9192:Edmund Shakespeare
9150:Hamnet Shakespeare
9047:Screen adaptations
8770:Sir John Oldcastle
8668:Arden of Faversham
7917:, 10 (1957), 26–35
7915:Shakespeare Survey
7894:Shakespeare Survey
7885:, 9 (1976), 89–105
7870:, 27 (1974), 11–19
7868:Shakespeare Survey
7820:, 10 (1957), 27–38
7818:Shakespeare Survey
7687:, 14 (1919), 16–37
7673:Critical Quarterly
7633:, 14 (1981), 85–98
7625:Miola, Robert S. "
7544:Metz, G. Harold. "
7359:, 10 (1957), 60–70
7357:Shakespeare Survey
7148:, 10 (1979), 71–92
6979:Dover Wilson, John
6752:Starks (2002: 122)
6741:The New York Times
6447:. Australian Stage
6321:Barnet (2005: 157)
6312:Barnet (2005: 155)
6163:The Jersey Journal
6100:on 29 October 2012
5784:Eleanor Collins, "
5720:Pete Wood (2006).
5699:The New York Times
5226:Shakespeare Survey
5180:Taylor (1997: 149)
4934:Hill (1957: 60–68)
4559:Bate (1995: 66–79)
4532:Waith (1984: 8–10)
4436:images.is.ed.ac.uk
4394:Bate (1995: 83–85)
4220:Bate (1995: 93–94)
4202:Kahn (1997: 70–71)
4193:Waith (1984:36–37)
4184:Maxwell (1953: 92)
4148:Spencer (1957: 32)
4091:Massai (2001: xxi)
4045:Oxford Shakespeare
4039:All references to
3923:
3583:Sydney Opera House
3565:In 2008, Müller's
3476:and the attendant
3345:Theatre of Cruelty
3282:
3212:
3038:The Public Theater
2906:
2858:
2541:theatrical realism
2492:in 1955, starring
2418:
2368:Burley-on-the-Hill
2311:verfremdungseffekt
2290:
2258:RSC production at
2206:
2038:
1931:
1927:Jean-Michel Moreau
1875:Oxford Shakespeare
1857:rhetorical devices
1837:
1646:
1510:Edward Ravenscroft
1481:John Payne Collier
1442:
1387:, the Folger's Q1
1329:
1184:
1048:
1040:
744:Antonio de Guevara
550:
505:Giovanni Boccaccio
471:as if at its death
327:
322:(1709), edited by
233:
48:
9533:
9532:
9258:
9257:
9162:Elizabeth Barnard
9126:
9125:
8855:
8854:
8584:
8583:
8282:The Winter's Tale
7998:Project Gutenberg
7613:Notes and Queries
7607:. "The Source of
7550:Notes and Queries
7407:Notes and Queries
7327:Hamilton, A. C. "
7299:978-1-137-34934-7
7175:Notes and Queries
7146:Renaissance Drama
7131:Christopher Ricks
7123:Notes and Queries
7100:Secondary sources
7003:; Cohen, Walter;
6667:Brooke, Michael.
6394:and Sarah Kane's
6390:, Botho Strauss'
6245:Hughes (2006: 26)
6236:Hughes (2006: 25)
6165:. 18 October 2013
6056:"Serving up Evil"
5482:Hughes (2006: 42)
5385:Dessen (1989: 15)
5367:Dessen (1989: 14)
5345:Dessen (1989: 12)
5336:Hughes (2006: 22)
5273:Sacks (1982: 587)
5237:Dessen (1988: 60)
5162:on 8 January 2009
5152:"Cast Interviews"
5137:Nicholas Brooke,
5033:978-1-5261-7732-2
4606:Notes and Queries
4412:Hughes (2006: 10)
3992:Shakespeare Night
3764:straight-to-video
3494:Matthias Langhoff
3121:Nicolae Ceaușescu
2929:Romulus and Remus
2779:Joel-Peter Witkin
2600:Delacorte Theater
2557:Nuremberg Rallies
2553:massacre at Katyn
2449:Florence Saunders
2218:choric commentary
2133:And in a tedious
1940:linguistic motifs
1883:Arden Shakespeare
1866:iambic pentameter
1385:Henry VI, Part II
1294:, rare words and
1200:Elizabethan plays
1188:playing companies
1143:Arden Shakespeare
1000:Arden Shakespeare
988:play-prose-ballad
978:play-ballad-prose
968:prose-ballad-play
962:John Dover Wilson
957:prose-play-ballad
930:Thomas Millington
782:, founder of the
774:, who introduced
547:Peter Paul Rubens
525:Claudius Aelianus
9613:
9546:Titus Andronicus
9413:Titus Andronicus
9344:
9314:Titus Andronicus
9297:Titus Andronicus
9285:
9278:
9271:
9262:
9261:
9248:
9247:
9238:
9237:
9186:Joan Shakespeare
9168:John Shakespeare
9071:
9070:
9052:Shakespeare and
8763:Sejanus His Fall
8730:
8690:Double Falsehood
8657:
8656:
8641:Venus and Adonis
8592:
8365:Titus Andronicus
8351:Romeo and Juliet
8155:
8154:
8135:
8128:
8121:
8112:
8111:
8084:Titus Andronicus
8061:Titus Andronicus
8045:Titus Andronicus
8033:Titus Andronicus
8030:
8029:
8014:
8011:
8000:
7993:Titus Andronicus
7979:Titus Andronicus
7960:Titus Andronicus
7940:Titus Andronicus
7922:Titus Andronicus
7911:Titus Andronicus
7890:Titus Andronicus
7879:Titus Andronicus
7876:
7864:Titus Andronicus
7853:Titus Andronicus
7838:Titus Andronicus
7807:Titus Andronicus
7786:Titus Andronicus
7757:Speaight, Robert
7749:Rossiter, A. P.
7731:Titus Andronicus
7720:Titus Andronicus
7707:Titus Andronicus
7704:
7692:Titus Andronicus
7681:Titus Andronicus
7668:Titus Andronicus
7648:Titus Andronicus
7627:Titus Andronicus
7609:Titus Andronicus
7596:
7576:Titus Andronicus
7573:
7561:Titus Andronicus
7558:
7533:Titus Andronicus
7520:Titus Andronicus
7515:, 5 (1969), 9–19
7509:Titus Andronicus
7471:Titus Andronicus
7460:Kahn, Coppélia.
7444:Titus Andronicus
7434:Titus Andronicus
7431:
7417:Titus Andronicus
7403:Titus Andronicus
7400:
7388:Titus Andronicus
7377:Titus Andronicus
7364:Titus Andronicus
7353:Titus Andronicus
7342:Titus Andronicus
7329:Titus Andronicus
7309:Titus Andronicus
7285:Titus Andronicus
7261:Henslowe's Diary
7245:Titus Andronicus
7222:Dessen, Alan C.
7195:Titus Andronicus
7184:(book review)",
7171:Titus Andronicus
7142:Titus Andronicus
7118:Titus Andronicus
7093:Titus Andronicus
7068:Titus Andronicus
7047:Titus Andronicus
7040:Titus Andronicus
7033:Titus Andronicus
7026:Titus Andronicus
6983:Titus Andronicus
6973:Titus Andronicus
6956:Titus Andronicus
6918:Titus Andronicus
6909:
6903:
6897:
6887:
6882:
6876:
6869:Titus Andronicus
6865:
6859:
6856:
6850:
6843:
6837:
6834:
6828:
6821:Titus Andronicus
6817:
6811:
6804:
6798:
6791:
6785:
6784:
6776:
6770:
6759:
6753:
6750:
6744:
6743:, 2 January 2000
6737:
6731:
6724:
6718:
6711:Titus Andronicus
6707:
6701:
6694:
6688:
6687:
6685:
6683:
6677:BFI Screenonline
6671:Titus Andronicus
6664:
6658:
6657:
6655:
6653:
6648:on 22 March 2012
6633:
6627:
6626:
6624:
6622:
6602:
6596:
6595:
6593:
6591:
6586:on 21 March 2012
6576:
6570:
6567:
6561:
6560:
6549:
6543:
6542:
6540:
6538:
6527:
6521:
6520:
6518:
6516:
6504:
6498:
6497:
6495:
6493:
6476:
6470:
6463:
6457:
6456:
6454:
6452:
6436:
6430:
6429:
6427:
6425:
6409:
6403:
6388:Titus Andronicus
6384:
6378:
6371:
6365:
6364:, (Winter, 2008)
6354:
6348:
6347:Waith (1984: 54)
6345:
6339:
6332:Titus Andronicus
6328:
6322:
6319:
6313:
6310:
6304:
6297:
6291:
6290:Waith (1984: 49)
6288:
6282:
6279:
6273:
6270:
6264:
6261:
6255:
6252:
6246:
6243:
6237:
6234:
6228:
6227:Waith (1984: 45)
6225:
6219:
6216:
6210:
6207:
6201:
6194:
6188:
6181:
6175:
6174:
6172:
6170:
6155:
6149:
6148:
6146:
6144:
6128:
6124:Titus Andronicus
6116:
6110:
6109:
6107:
6105:
6096:. Archived from
6086:Titus Andronicus
6079:
6073:
6072:
6070:
6068:
6051:
6045:
6044:
6042:
6040:
6031:Titus Andronicus
6025:
6019:
6012:Titus Andronicus
6008:
6002:
5993:Titus Andronicus
5989:
5983:
5981:
5972:Titus Andronicus
5968:
5962:
5961:
5959:
5957:
5940:
5934:
5933:
5931:
5929:
5918:
5914:Titus Andronicus
5909:(22 June 2006).
5903:
5897:
5896:
5894:
5892:
5883:. Archived from
5873:Titus Andronicus
5866:
5860:
5859:
5857:
5855:
5838:
5832:
5831:
5829:
5827:
5811:
5803:
5797:
5795:
5786:Titus Andronicus
5782:
5776:
5775:
5772:
5770:
5768:
5752:
5744:
5738:
5737:
5735:
5733:
5724:Titus Andronicus
5717:
5711:
5710:
5708:
5706:
5689:
5683:
5682:
5680:
5678:
5662:
5654:
5648:
5647:
5645:
5643:
5634:Titus Andronicus
5627:
5621:
5620:
5618:
5616:
5604:Titus Andronicus
5598:
5592:
5591:
5589:
5587:
5571:
5563:
5554:
5551:
5545:
5542:
5536:
5525:
5519:
5516:
5510:
5507:
5501:
5498:
5492:
5489:
5483:
5480:
5474:
5471:
5465:
5462:
5456:
5453:
5447:
5444:
5438:
5437:, 10 August 1967
5432:
5426:
5423:
5417:
5414:
5408:
5401:
5395:
5392:
5386:
5383:
5377:
5374:
5368:
5365:
5359:
5352:
5346:
5343:
5337:
5334:
5328:
5325:
5319:
5316:
5310:
5307:
5301:
5298:
5292:
5289:
5283:
5280:
5274:
5271:
5265:
5262:
5256:
5255:Reese (1970: 78)
5253:
5247:
5244:
5238:
5235:
5229:
5223:
5217:
5214:
5208:
5205:
5199:
5196:
5190:
5189:Bate (1995: 111)
5187:
5181:
5178:
5172:
5171:
5169:
5167:
5158:. Archived from
5148:
5142:
5135:
5129:
5128:Waith (1984: 61)
5126:
5120:
5117:
5111:
5110:
5080:
5074:
5071:
5065:
5060:H. B. Charlton,
5058:
5052:
5051:
5045:
5037:
5019:
5013:
5010:
5004:
5001:
4995:
4992:
4986:
4983:
4977:
4974:
4968:
4965:
4959:
4953:
4947:
4941:
4935:
4932:
4926:
4923:
4917:
4914:
4908:
4905:
4899:
4896:
4890:
4883:
4877:
4874:
4868:
4865:
4859:
4856:
4850:
4847:
4841:
4838:
4832:
4831:
4821:
4815:
4814:
4812:
4810:
4805:on 29 March 2013
4795:
4789:
4782:
4773:
4770:Titus Andronicus
4766:
4760:
4757:
4751:
4748:
4742:
4739:
4733:
4726:
4720:
4715:A. W. Schlegel,
4713:
4707:
4704:
4698:
4695:
4689:
4686:
4680:
4669:
4663:
4662:Waith (1984: 27)
4660:
4654:
4650:
4644:
4637:
4631:
4624:
4618:
4615:
4609:
4602:
4596:
4588:
4582:
4579:
4573:
4566:
4560:
4557:
4551:
4548:
4542:
4539:
4533:
4530:
4524:
4521:
4515:
4514:(Bate; 1995: 75)
4484:
4478:
4477:Hughes (2006: 6)
4475:
4469:
4462:
4456:
4453:
4447:
4446:
4444:
4442:
4428:
4422:
4419:
4413:
4410:
4404:
4401:
4395:
4392:
4386:
4383:
4377:
4374:
4368:
4365:
4359:
4356:
4350:
4347:
4341:
4338:
4332:
4329:
4323:
4320:
4314:
4307:
4301:
4298:
4292:
4289:
4283:
4280:
4274:
4271:
4265:
4260:A. C. Hamilton,
4258:
4252:
4249:
4243:
4236:
4230:
4227:
4221:
4218:
4212:
4209:
4203:
4200:
4194:
4191:
4185:
4182:
4176:
4173:
4167:
4166:Waith (1984: 35)
4164:
4158:
4157:Jones (1977: 90)
4155:
4149:
4146:
4140:
4137:
4131:
4128:
4122:
4119:
4113:
4106:Titus Andronicus
4098:
4092:
4089:
4080:
4078:
4066:
4056:
4041:Titus Andronicus
4012:Michael Aldridge
3895:Northern Ireland
3829:Naseeruddin Shah
3819:Titus Andronicus
3743:Theatre of Blood
3731:Lesley-Anne Down
3683:to the tune of "
3579:Canberra Theatre
3571:Cremorne Theatre
3557:
3547:
3546:
3541:
3531:
3513:Nicholas Pennell
3459:
3456:
3455:
3451:Anatomie Titus:
3438:Leonie Mellinger
3398:
3374:Margaret Whiting
3314:reviewer wrote,
3305:The Sunday Times
3280:
3277:
3224:Thomas Betterton
3222:, probably with
3168:is identical to
3147:
3141:
3117:Silviu Purcărete
3054:Michael Fentiman
2999:Titus Andronicus
2990:
2980:
2946:
2823:Titus Andronicus
2731:Peter Polycarpou
2638:Byzantine Empire
2625:Titus Andronicus
2565:Benito Mussolini
2494:Laurence Olivier
2422:Lord Chamberlain
2400:Titus Andronicus
2370:in the manor of
2314:
2282:Samuel Woodforde
2196:
2025:
1933:The language of
1855:distribution of
1768:John Monck Mason
1687:Titus Andronicus
1614:Titus Andronicus
1590:Titus Andronicus
1575:Titus Andronicus
1519:
1496:Critical history
1485:Titus Andronicus
1461:Marquess of Bath
1439:
1436:
1424:Titus Andronicus
1337:Henslowe's Diary
1320:, in late 1593.
1317:Romeo and Juliet
1307:Henry VI, Part 3
1301:Henry VI, Part 2
1262:Venus and Adonis
1224:Titus Andronicus
1174:
1171:
1163:
1160:
1152:
1149:
1109:Bartholomew Fair
1078:under the title
1052:Titus Andronicus
920:under the title
883:Titus Andronicus
862:Scipio Africanus
825:George Puttenham
734:, co-emperor of
685:
682:
564:
561:
509:Geoffrey Chaucer
427:Titus Andronicus
389:Titus Andronicus
110:Titus Andronicus
97:graphic violence
89:Titus Andronicus
52:Titus Andronicus
9621:
9620:
9616:
9615:
9614:
9612:
9611:
9610:
9536:
9535:
9534:
9529:
9510:Edmund Ironside
9454:Peacham drawing
9442:
9398:
9392:Gesta Romanorum
9360:Ab Urbe Condita
9345:
9336:
9300:
9289:
9259:
9254:
9215:
9164:(granddaughter)
9122:
9069:
8998:
8964:Religious views
8942:Curtain Theatre
8863:
8851:
8826:
8777:Sir Thomas More
8723:
8697:Edmund Ironside
8646:
8593:
8580:
8554:Ghost character
8514:
8486:
8377:
8358:Timon of Athens
8287:
8144:
8139:
8027:
8012:
7990:
7984:Standard Ebooks
7974:
7969:
7874:
7796:Schlueter, June
7741:Robertson, J.M.
7702:
7594:
7571:
7556:
7529:Marti, Marcus.
7448:Themes in Drama
7429:
7405:– once again",
7398:
7319:Halliday, F. E.
7102:
7005:Howard, Jean E.
6921:
6913:
6912:
6904:
6900:
6885:
6883:
6879:
6866:
6862:
6857:
6853:
6844:
6840:
6835:
6831:
6818:
6814:
6805:
6801:
6792:
6788:
6778:
6777:
6773:
6760:
6756:
6751:
6747:
6738:
6734:
6725:
6721:
6708:
6704:
6695:
6691:
6681:
6679:
6665:
6661:
6651:
6649:
6634:
6630:
6620:
6618:
6603:
6599:
6589:
6587:
6578:
6577:
6573:
6568:
6564:
6551:
6550:
6546:
6536:
6534:
6529:
6528:
6524:
6514:
6512:
6505:
6501:
6491:
6489:
6477:
6473:
6464:
6460:
6450:
6448:
6437:
6433:
6423:
6421:
6420:. Theatre Notes
6410:
6406:
6385:
6381:
6375:Theatre Journal
6372:
6368:
6356:Steve Earnst, "
6355:
6351:
6346:
6342:
6329:
6325:
6320:
6316:
6311:
6307:
6298:
6294:
6289:
6285:
6280:
6276:
6271:
6267:
6262:
6258:
6253:
6249:
6244:
6240:
6235:
6231:
6226:
6222:
6217:
6213:
6209:Bate (1995: 47)
6208:
6204:
6195:
6191:
6182:
6178:
6168:
6166:
6157:
6156:
6152:
6142:
6140:
6132:The Independent
6117:
6113:
6103:
6101:
6080:
6076:
6066:
6064:
6052:
6048:
6038:
6036:
6027:
6026:
6022:
6009:
6005:
5998:The Independent
5990:
5986:
5969:
5965:
5955:
5953:
5941:
5937:
5927:
5925:
5904:
5900:
5890:
5888:
5887:on 8 April 2007
5867:
5863:
5853:
5851:
5839:
5835:
5825:
5823:
5804:
5800:
5783:
5779:
5773:
5766:
5764:
5756:Financial Times
5745:
5741:
5731:
5729:
5718:
5714:
5704:
5702:
5690:
5686:
5676:
5674:
5655:
5651:
5641:
5639:
5628:
5624:
5614:
5612:
5600:
5599:
5595:
5585:
5583:
5564:
5557:
5552:
5548:
5543:
5539:
5526:
5522:
5517:
5513:
5508:
5504:
5499:
5495:
5490:
5486:
5481:
5477:
5472:
5468:
5463:
5459:
5454:
5450:
5445:
5441:
5433:
5429:
5424:
5420:
5415:
5411:
5402:
5398:
5393:
5389:
5384:
5380:
5375:
5371:
5366:
5362:
5353:
5349:
5344:
5340:
5335:
5331:
5326:
5322:
5318:Waith (1984: 8)
5317:
5313:
5308:
5304:
5299:
5295:
5290:
5286:
5282:Waith (1984: 2)
5281:
5277:
5272:
5268:
5263:
5259:
5254:
5250:
5245:
5241:
5236:
5232:
5224:
5220:
5215:
5211:
5206:
5202:
5197:
5193:
5188:
5184:
5179:
5175:
5165:
5163:
5150:
5149:
5145:
5136:
5132:
5127:
5123:
5118:
5114:
5099:10.2307/2870725
5081:
5077:
5072:
5068:
5059:
5055:
5039:
5038:
5034:
5020:
5016:
5011:
5007:
5002:
4998:
4993:
4989:
4984:
4980:
4975:
4971:
4966:
4962:
4954:
4950:
4942:
4938:
4933:
4929:
4924:
4920:
4915:
4911:
4906:
4902:
4897:
4893:
4884:
4880:
4875:
4871:
4866:
4862:
4857:
4853:
4848:
4844:
4839:
4835:
4822:
4818:
4808:
4806:
4797:
4796:
4792:
4783:
4776:
4767:
4763:
4759:Kott (1964: 27)
4758:
4754:
4749:
4745:
4740:
4736:
4727:
4723:
4714:
4710:
4705:
4701:
4696:
4692:
4687:
4683:
4670:
4666:
4661:
4657:
4651:
4647:
4638:
4634:
4626:Andrew Murphy,
4625:
4621:
4616:
4612:
4603:
4599:
4589:
4585:
4580:
4576:
4567:
4563:
4558:
4554:
4549:
4545:
4540:
4536:
4531:
4527:
4522:
4518:
4485:
4481:
4476:
4472:
4463:
4459:
4454:
4450:
4440:
4438:
4430:
4429:
4425:
4421:Bate (1995: 70)
4420:
4416:
4411:
4407:
4402:
4398:
4393:
4389:
4384:
4380:
4375:
4371:
4366:
4362:
4357:
4353:
4348:
4344:
4339:
4335:
4330:
4326:
4322:Adams (1936: 8)
4321:
4317:
4308:
4304:
4300:Law (1943: 147)
4299:
4295:
4290:
4286:
4281:
4277:
4272:
4268:
4259:
4255:
4251:Bate (1995: 92)
4250:
4246:
4238:Frances Yates,
4237:
4233:
4228:
4224:
4219:
4215:
4210:
4206:
4201:
4197:
4192:
4188:
4183:
4179:
4174:
4170:
4165:
4161:
4156:
4152:
4147:
4143:
4139:Bate (1995: 19)
4138:
4134:
4130:West (1982: 74)
4129:
4125:
4120:
4116:
4099:
4095:
4090:
4083:
4075:
4057:
4053:
4037:
4032:
4016:Barbara Jefford
4000:Baliol Holloway
3984:
3849:
3821:was adapted as
3794:Angus Macfadyen
3781:Anthony Hopkins
3727:Christopher Lee
3719:
3662:
3426:Patrick Stewart
3378:Robert Helpmann
3376:as Lavinia and
3370:Barbara Jefford
3278:
3228:Samuel Sandford
3191:and the German
3134:
3129:
3105:Nenni Delmestre
3101:Daniel Mesguich
3022:Valerie Leonard
3018:Sam Tsoutsouvas
2994:The Independent
2978:
2838:Maureen Beattie
2771:Melinda Mullins
2702:Jennifer Phipps
2669:Calvin Lockhart
2665:Margaret Tyzack
2616:Olympia Dukakis
2592:Gerald Freedman
2469:Yale University
2465:Alpha Delta Phi
2348:
2343:
2337:
2197:
2194:
2191:
2188:
2186:
2184:
2182:
2180:
2178:
2175:Thracian poet's
2168:
2166:
2164:
2162:
2160:
2158:
2148:
2146:
2144:
2142:
2140:
2138:
2137:sewed her mind;
2132:
2130:
2128:
2126:
2124:
2122:
2120:
2118:
2112:
2110:
2108:
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2090:
2088:
2086:
2084:
2082:
2080:
2078:
2076:
2074:
2026:
2023:
2020:
2017:
2015:
2013:
2007:
2005:
2003:
1920:
1772:William Hazlitt
1748:William Guthrie
1740:George Steevens
1690:
1681:
1517:
1498:
1493:
1453:
1451:Peacham drawing
1447:
1437:
1415:, an annotated
1357:
1345:Newington Butts
1172:
1161:
1150:
1066:", probably at
1056:Philip Henslowe
1028:
1023:
950:at the latest.
903:Richard Johnson
879:
683:
676:Ab urbe condita
562:
513:William Painter
501:Matteo Bandello
492:Gesta Romanorum
487:
385:
380:
282:During a royal
222:
217:
145:Emperor of Rome
105:
28:
17:
12:
11:
5:
9619:
9609:
9608:
9603:
9598:
9593:
9588:
9583:
9578:
9573:
9568:
9563:
9558:
9553:
9548:
9531:
9530:
9528:
9527:
9519:
9514:
9506:
9498:
9493:
9488:
9483:
9478:
9473:
9466:
9461:
9456:
9450:
9448:
9444:
9443:
9441:
9440:
9432:
9425:
9417:
9408:
9406:
9400:
9399:
9397:
9396:
9388:
9380:
9368:
9355:
9353:
9347:
9346:
9339:
9337:
9335:
9334:
9331:
9328:
9325:
9322:
9319:
9316:
9310:
9308:
9302:
9301:
9288:
9287:
9280:
9273:
9265:
9256:
9255:
9253:
9252:
9242:
9231:
9230:
9227:
9220:
9217:
9216:
9214:
9213:
9207:
9201:
9195:
9189:
9183:
9177:
9171:
9165:
9159:
9153:
9147:
9141:
9134:
9132:
9128:
9127:
9124:
9123:
9121:
9120:
9115:
9109:
9104:
9103:
9102:
9092:
9091:
9090:
9077:
9075:
9068:
9067:
9062:
9057:
9049:
9044:
9039:
9034:
9029:
9024:
9019:
9014:
9008:
9006:
9000:
8999:
8997:
8996:
8991:
8986:
8981:
8976:
8971:
8966:
8961:
8956:
8951:
8946:
8945:
8944:
8939:
8925:
8920:
8915:
8910:
8905:
8903:Collaborations
8900:
8895:
8894:
8893:
8888:
8876:
8870:
8868:
8857:
8856:
8853:
8852:
8850:
8849:
8842:
8834:
8832:
8828:
8827:
8825:
8824:
8817:
8810:
8802:
8795:
8788:
8781:
8773:
8766:
8759:
8752:
8745:
8738:
8731:
8721:
8714:
8707:
8700:
8693:
8686:
8678:
8671:
8663:
8661:
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8551:
8546:
8538:
8533:
8528:
8522:
8520:
8516:
8515:
8513:
8512:
8507:
8502:
8496:
8494:
8492:Early editions
8488:
8487:
8485:
8484:
8476:
8469:
8468:
8467:
8460:
8453:
8438:
8431:
8430:
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8410:
8403:
8395:
8387:
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8379:
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8354:
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8297:
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8289:
8288:
8286:
8285:
8278:
8270:
8263:
8256:
8249:
8242:
8234:
8227:
8220:
8213:
8206:
8199:
8192:
8185:
8178:
8175:As You Like It
8171:
8163:
8161:
8152:
8146:
8145:
8138:
8137:
8130:
8123:
8115:
8109:
8108:
8096:
8080:
8070:
8056:
8040:
8024:
8016:
8001:
7988:
7986:
7973:
7972:External links
7970:
7968:
7967:
7956:
7947:
7936:
7929:
7918:
7907:
7900:Vickers, Brian
7897:
7886:
7871:
7860:
7849:
7832:
7821:
7814:
7803:
7793:
7782:
7773:
7764:
7754:
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7738:
7727:
7716:
7699:
7688:
7677:
7664:
7655:
7644:
7634:
7623:
7616:
7605:Mincoff, Marco
7602:
7591:
7568:
7553:
7542:
7527:
7516:
7505:
7495:
7488:
7478:
7467:
7458:
7453:Jones, Emrys.
7451:
7440:
7426:
7410:
7395:
7384:
7373:
7360:
7349:
7338:
7325:
7316:
7305:Non sine causa
7303:Haaker, Ann. "
7301:
7281:
7271:
7264:
7254:
7241:
7236:Duthie, G. I.
7234:
7227:
7220:
7211:Daniel, P. A.
7209:
7204:Cohen, Derek.
7202:
7191:
7178:
7163:
7156:
7149:
7138:
7127:
7114:
7103:
7101:
7098:
7097:
7096:
7089:
7074:Wells, Stanley
7071:
7064:
7050:
7043:
7036:
7029:
7022:
7015:Harrison, G.B.
7012:
6998:
6986:
6976:
6969:
6962:Bate, Jonathan
6959:
6952:Bate, Jonathan
6949:
6942:Barnet, Sylvan
6939:
6932:
6920:
6914:
6911:
6910:
6898:
6884:Anne Gossage,
6877:
6860:
6851:
6838:
6829:
6812:
6806:Susan Willis,
6799:
6786:
6771:
6754:
6745:
6732:
6719:
6702:
6689:
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6597:
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6305:
6292:
6283:
6274:
6265:
6256:
6247:
6238:
6229:
6220:
6211:
6202:
6198:Tito Andronico
6189:
6176:
6150:
6111:
6074:
6046:
6020:
6003:
6001:(22 June 2006)
5984:
5963:
5935:
5898:
5861:
5833:
5798:
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5739:
5712:
5684:
5649:
5622:
5593:
5555:
5546:
5537:
5520:
5511:
5502:
5493:
5491:Bate (1996: 1)
5484:
5475:
5466:
5457:
5448:
5439:
5435:New York Times
5427:
5418:
5409:
5403:J. C. Trewin,
5396:
5387:
5378:
5369:
5360:
5347:
5338:
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5173:
5143:
5130:
5121:
5112:
5093:(3): 299–316.
5075:
5066:
5053:
5032:
5014:
5005:
4996:
4994:Carroll (2004)
4987:
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4552:
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4534:
4525:
4516:
4497:Sapho and Phao
4479:
4470:
4457:
4448:
4423:
4414:
4405:
4396:
4387:
4378:
4369:
4360:
4358:Mincoff (1971)
4351:
4349:Sargent (1971)
4342:
4333:
4324:
4315:
4302:
4293:
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4275:
4266:
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4093:
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4049:
4036:
4033:
4031:
4028:
3983:
3980:
3878:Trevor Peacock
3848:
3845:
3806:in and around
3748:Douglas Hickox
3746:, directed by
3718:
3715:
3689:Britney Spears
3661:
3658:
3625:. Directed by
3597:. Directed by
3567:Anatomie Titus
3545:"Terra Secura"
3430:Sheila Hancock
3360:. Directed by
3341:Irving Theatre
3290:C. A. Somerset
3193:Tito Andronico
3166:Tito Andronico
3133:
3130:
3128:
3125:
3047:Lucille Lortel
3043:Jay O. Sanders
3034:Michael Sexton
2916:Yukio Ninagawa
2914:. Directed by
2883:William Dudley
2864:, directed by
2830:Bill Alexander
2794:Market Theatre
2767:Robert Stattel
2755:Bruce A. Young
2727:Estelle Kohler
2719:Barbican's Pit
2612:Jack Hollander
2502:Anthony Quayle
2473:John M. Berdan
2467:fraternity of
2445:Wilfred Walter
2426:King's Company
2347:
2344:
2339:Main article:
2336:
2333:
2329:Peter M. Sacks
2268:Donald Sumpter
2256:Deborah Warner
2192:
2149:Tremble, like
2071:
2021:
1996:
1919:
1916:
1841:E. K. Chambers
1810:Hermann Ulrici
1802:Charles Knight
1764:John Pinkerton
1760:Richard Farmer
1756:Benjamin Heath
1736:Samuel Johnson
1732:Lewis Theobald
1728:Alexander Pope
1703:Palladis Tamia
1685:Authorship of
1683:Main article:
1680:
1677:
1522:Samuel Johnson
1497:
1494:
1492:
1489:
1449:Main article:
1446:
1443:
1356:
1353:
1296:function words
1292:colloquialisms
1196:Pembroke's Men
1027:
1024:
1022:
1019:
878:
875:
793:, daughter of
784:Roman Republic
696:Lucius Icilius
573:, daughter of
486:
483:
429:is Rome after
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36:First page of
15:
9:
6:
4:
3:
2:
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9607:
9606:Revenge plays
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9496:Grand Guignol
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9372:Metamorphoses
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9210:Thomas Quiney
9208:
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9200:(grandfather)
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9156:Judith Quiney
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9138:Anne Hathaway
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8918:Globe Theatre
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8555:
8552:
8550:
8547:
8545:
8542:
8541:
8539:
8537:
8534:
8532:
8531:Late romances
8529:
8527:
8526:Problem plays
8524:
8523:
8521:
8517:
8511:
8508:
8506:
8503:
8501:
8498:
8497:
8495:
8493:
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8474:
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8459:
8458:
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8445:
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8443:
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8437:
8436:
8432:
8428:
8427:
8423:
8421:
8420:
8416:
8415:
8414:
8411:
8409:
8408:
8404:
8401:
8400:
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8394:
8393:
8389:
8388:
8386:
8384:
8380:
8374:
8373:
8369:
8367:
8366:
8362:
8360:
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8353:
8352:
8348:
8346:
8345:
8341:
8339:
8338:
8334:
8332:
8331:
8327:
8325:
8324:
8323:Julius Caesar
8320:
8318:
8317:
8313:
8311:
8310:
8306:
8304:
8303:
8299:
8298:
8296:
8294:
8290:
8284:
8283:
8279:
8276:
8275:
8271:
8269:
8268:
8264:
8262:
8261:
8260:Twelfth Night
8257:
8255:
8254:
8250:
8248:
8247:
8243:
8240:
8239:
8235:
8233:
8232:
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8211:
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8097:
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8057:
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8034:
8025:
8022:
8021:
8017:
8007:
8006:
8002:
7999:
7995:
7994:
7989:
7987:
7985:
7981:
7980:
7976:
7975:
7965:
7961:
7957:
7954:
7951:
7950:Wilson, F. P.
7948:
7945:
7941:
7937:
7934:
7930:
7927:
7923:
7919:
7916:
7912:
7908:
7905:
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7895:
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7884:
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7846:
7841:
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7822:
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7812:
7808:
7804:
7801:
7797:
7794:
7791:
7787:
7783:
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7779:
7774:
7771:
7770:
7765:
7762:
7758:
7755:
7752:
7748:
7745:
7742:
7739:
7736:
7732:
7728:
7725:
7721:
7717:
7714:
7713:
7708:
7700:
7697:
7693:
7689:
7686:
7682:
7678:
7675:
7674:
7669:
7665:
7662:
7659:
7658:Onions, C. T.
7656:
7653:
7649:
7645:
7642:
7638:
7637:Muir, Kenneth
7635:
7632:
7628:
7624:
7621:
7617:
7614:
7610:
7606:
7603:
7600:
7592:
7589:
7585:
7584:Julius Caesar
7581:
7577:
7569:
7566:
7562:
7554:
7551:
7547:
7543:
7540:
7536:
7534:
7528:
7525:
7521:
7517:
7514:
7510:
7506:
7503:
7499:
7496:
7493:
7489:
7486:
7483:
7479:
7476:
7472:
7468:
7465:
7464:
7459:
7456:
7452:
7449:
7445:
7441:
7439:
7435:
7427:
7424:
7423:
7418:
7414:
7411:
7408:
7404:
7396:
7393:
7389:
7385:
7382:
7378:
7374:
7371:
7370:
7365:
7361:
7358:
7354:
7350:
7347:
7343:
7339:
7336:
7335:
7330:
7326:
7323:
7320:
7317:
7314:
7310:
7306:
7302:
7300:
7296:
7292:
7291:
7286:
7282:
7279:
7275:
7274:Goodwin, John
7272:
7269:
7265:
7262:
7258:
7257:Foakes, R. A.
7255:
7252:
7251:
7246:
7242:
7239:
7235:
7232:
7228:
7225:
7221:
7218:
7214:
7210:
7207:
7203:
7200:
7196:
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7161:
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7147:
7143:
7139:
7136:
7132:
7128:
7125:
7124:
7119:
7115:
7112:
7108:
7107:Bloom, Harold
7105:
7104:
7094:
7090:
7087:
7083:
7079:
7075:
7072:
7069:
7065:
7062:
7058:
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7044:
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6999:
6996:
6995:
6990:
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6855:
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6803:
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6758:
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6601:
6585:
6581:
6575:
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6548:
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6503:
6488:
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6482:
6475:
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6446:
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6435:
6419:
6417:
6408:
6401:
6397:
6393:
6389:
6383:
6376:
6370:
6363:
6359:
6353:
6344:
6337:
6333:
6327:
6318:
6309:
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6296:
6287:
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6260:
6251:
6242:
6233:
6224:
6215:
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6199:
6193:
6186:
6180:
6164:
6160:
6154:
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6134:
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6007:
6000:
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5994:
5988:
5980:
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5967:
5952:
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5946:
5939:
5924:
5923:
5917:
5915:
5908:
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5886:
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5881:
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5874:
5865:
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5837:
5821:
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5810:
5802:
5794:
5793:
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5758:
5757:
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5743:
5727:
5725:
5716:
5701:
5700:
5695:
5688:
5672:
5668:
5667:
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5637:
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5626:
5611:
5607:
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5597:
5581:
5577:
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5534:
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5524:
5515:
5506:
5497:
5488:
5479:
5470:
5461:
5452:
5443:
5436:
5431:
5422:
5413:
5406:
5400:
5391:
5382:
5373:
5364:
5357:
5351:
5342:
5333:
5324:
5315:
5306:
5297:
5288:
5279:
5270:
5261:
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5243:
5234:
5227:
5222:
5213:
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5186:
5177:
5161:
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5147:
5140:
5134:
5125:
5116:
5108:
5104:
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5096:
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5088:
5087:
5079:
5070:
5063:
5057:
5049:
5043:
5035:
5029:
5025:
5018:
5009:
5003:Pruitt (2017)
5000:
4991:
4982:
4973:
4964:
4957:
4952:
4945:
4940:
4931:
4922:
4913:
4904:
4895:
4888:
4882:
4873:
4864:
4855:
4846:
4837:
4829:
4828:
4827:New York Post
4820:
4804:
4800:
4794:
4787:
4781:
4779:
4771:
4768:A. L. Rowse,
4765:
4756:
4747:
4738:
4731:
4725:
4718:
4712:
4703:
4694:
4685:
4678:
4674:
4668:
4659:
4649:
4642:
4636:
4629:
4623:
4614:
4607:
4601:
4594:
4587:
4578:
4571:
4565:
4556:
4547:
4538:
4529:
4520:
4513:
4509:
4505:
4504:
4499:
4498:
4493:
4489:
4483:
4474:
4467:
4461:
4452:
4437:
4433:
4427:
4418:
4409:
4400:
4391:
4382:
4373:
4364:
4355:
4346:
4337:
4328:
4319:
4312:
4306:
4297:
4288:
4279:
4270:
4263:
4257:
4248:
4241:
4235:
4226:
4217:
4208:
4199:
4190:
4181:
4172:
4163:
4154:
4145:
4136:
4127:
4118:
4111:
4107:
4103:
4100:In the First
4097:
4088:
4086:
4076:
4074:9780691064543
4070:
4065:
4064:
4055:
4051:
4048:
4046:
4042:
4027:
4025:
4021:
4020:Julian Glover
4017:
4013:
4009:
4005:
4004:Sonia Dresdal
4001:
3997:
3993:
3989:
3979:
3977:
3976:
3970:
3967:
3963:
3959:
3958:
3952:
3948:
3945:
3939:
3937:
3933:
3929:
3920:
3915:
3911:
3908:
3904:
3900:
3896:
3891:
3887:
3883:
3882:Eileen Atkins
3879:
3875:
3871:
3870:
3865:
3860:
3858:
3854:
3844:
3842:
3838:
3834:
3830:
3826:
3825:
3820:
3815:
3813:
3809:
3805:
3801:
3797:
3795:
3790:
3786:
3785:Jessica Lange
3782:
3778:
3777:
3771:
3769:
3765:
3760:
3758:
3757:Robert Morley
3753:
3752:Vincent Price
3749:
3745:
3744:
3739:
3738:horror comedy
3734:
3732:
3729:as Titus and
3728:
3724:
3714:
3712:
3708:
3704:
3700:
3696:
3694:
3690:
3686:
3682:
3678:
3674:
3670:
3666:
3657:
3654:
3650:
3646:
3643:
3639:
3634:
3632:
3628:
3627:Tang Shu-wing
3624:
3620:
3615:
3613:
3609:
3604:
3600:
3596:
3592:
3588:
3584:
3580:
3576:
3572:
3568:
3563:
3561:
3556:
3551:
3540:
3535:
3530:
3525:
3520:
3518:
3517:Goldie Semple
3514:
3510:
3506:
3502:
3497:
3495:
3491:
3490:Manfred Karge
3487:
3483:
3479:
3475:
3471:
3467:
3463:
3458:
3447:
3446:Heiner Müller
3442:
3439:
3436:as Aaron and
3435:
3434:Hugh Quarshie
3431:
3427:
3423:
3422:
3417:
3412:
3410:
3406:
3402:
3397:
3392:
3387:
3385:
3384:
3379:
3375:
3371:
3367:
3366:Derek Godfrey
3363:
3359:
3358:
3352:
3350:
3346:
3342:
3338:
3337:Grand Guignol
3335:as part of a
3334:
3330:
3326:
3325:Kenneth Tynan
3320:
3315:
3313:
3312:
3307:
3306:
3301:
3300:
3295:
3291:
3287:
3272:
3268:
3266:
3262:
3258:
3254:
3249:
3245:
3243:
3239:
3234:
3229:
3226:as Titus and
3225:
3221:
3217:
3209:
3205:
3200:
3196:
3194:
3190:
3186:
3182:
3181:Aran en Titus
3178:
3173:
3171:
3167:
3163:
3162:John Greene's
3159:
3158:Robert Browne
3156:performed by
3155:
3151:
3146:
3140:
3124:
3122:
3118:
3114:
3110:
3106:
3102:
3098:
3094:
3090:
3086:
3082:
3078:
3073:
3071:
3067:
3063:
3062:Rose Reynolds
3059:
3058:Stephen Boxer
3055:
3050:
3048:
3044:
3039:
3035:
3030:
3027:
3023:
3019:
3015:
3011:
3007:
3002:
3000:
2996:
2995:
2989:
2984:
2977:
2973:
2969:
2964:
2963:
2958:
2957:
2952:
2951:
2945:
2944:
2936:
2934:
2930:
2925:
2921:
2917:
2913:
2912:
2902:
2898:
2896:
2892:
2888:
2884:
2879:
2876:as Aaron and
2875:
2871:
2870:Douglas Hodge
2868:and starring
2867:
2863:
2854:
2850:
2847:
2843:
2839:
2835:
2834:David Bradley
2832:and starring
2831:
2826:
2824:
2820:
2816:
2812:
2808:
2803:
2799:
2795:
2791:
2787:
2786:Gregory Doran
2782:
2780:
2776:
2772:
2768:
2764:
2759:
2756:
2752:
2748:
2744:
2739:
2736:
2733:as Aaron and
2732:
2728:
2724:
2720:
2715:
2712:
2707:
2703:
2699:
2695:
2694:Brian Bedford
2691:
2686:
2683:
2678:
2674:
2671:as Aaron and
2670:
2666:
2662:
2661:Colin Blakely
2658:
2653:
2651:
2647:
2646:Charles Dance
2643:
2639:
2634:
2630:
2626:
2621:
2617:
2613:
2609:
2605:
2601:
2597:
2593:
2588:
2586:
2582:
2578:
2577:Allied Forces
2574:
2573:Nazi insignia
2570:
2569:Prussian Army
2566:
2562:
2558:
2554:
2550:
2546:
2542:
2538:
2534:
2530:
2529:Douglas Seale
2524:
2521:
2517:
2513:
2512:
2507:
2504:as Aaron and
2503:
2499:
2498:Maxine Audley
2495:
2491:
2486:
2484:
2483:
2478:
2477:E. M. Woolley
2474:
2470:
2466:
2461:
2458:
2455:as Aaron and
2454:
2450:
2446:
2442:
2438:
2437:Robert Atkins
2433:
2431:
2427:
2423:
2415:
2411:
2407:
2405:
2401:
2397:
2393:
2389:
2385:
2381:
2375:
2373:
2369:
2365:
2361:
2360:Admiral's Men
2357:
2353:
2342:
2332:
2330:
2326:
2322:
2318:
2313:
2312:
2307:
2303:
2302:interlocutory
2299:
2295:
2287:
2283:
2279:
2275:
2273:
2269:
2265:
2264:Stanley Wells
2261:
2257:
2251:
2249:
2242:
2240:
2235:
2229:
2227:
2223:
2219:
2214:
2212:
2202:
2190:
2176:
2172:
2156:
2152:
2136:
2116:
2069:
2067:
2062:
2060:
2055:
2051:
2046:
2044:
2034:
2030:
2019:
2011:
2001:
1994:
1990:
1987:
1981:
1977:
1975:
1970:
1968:
1964:
1960:
1956:
1952:
1948:
1943:
1941:
1936:
1928:
1924:
1915:
1913:
1908:
1904:
1900:
1896:
1890:
1888:
1884:
1880:
1876:
1870:
1867:
1863:
1858:
1852:
1850:
1846:
1842:
1834:
1829:
1825:
1823:
1822:Robert Greene
1819:
1813:
1811:
1807:
1803:
1799:
1798:Edward Capell
1793:
1791:
1787:
1786:
1781:
1777:
1773:
1769:
1765:
1761:
1757:
1753:
1749:
1745:
1744:Edmond Malone
1741:
1737:
1733:
1729:
1725:
1724:Nicholas Rowe
1720:
1717:
1713:
1712:Henry Condell
1709:
1708:John Heminges
1705:
1704:
1699:
1698:Francis Meres
1695:
1689:
1688:
1676:
1674:
1670:
1666:
1665:
1664:New York Post
1659:
1655:
1651:
1643:
1639:
1635:
1632:
1631:Victorian age
1628:
1624:
1618:
1615:
1611:
1607:
1603:
1602:
1597:
1596:
1591:
1586:
1584:
1579:
1576:
1572:
1567:
1565:
1561:
1556:
1552:
1548:
1547:
1541:
1538:
1533:
1528:
1523:
1515:
1511:
1506:
1503:
1488:
1486:
1482:
1478:
1472:
1470:
1466:
1462:
1458:
1452:
1431:
1427:
1425:
1420:
1418:
1414:
1410:
1406:
1402:
1398:
1393:
1390:
1386:
1382:
1378:
1377:reported text
1374:
1369:
1367:
1362:
1361:James Roberts
1352:
1350:
1349:Brian Vickers
1346:
1342:
1338:
1334:
1325:
1321:
1319:
1318:
1313:
1309:
1308:
1303:
1302:
1297:
1293:
1289:
1285:
1282:has employed
1281:
1276:
1274:
1270:
1269:
1264:
1263:
1258:
1254:
1250:
1246:
1245:
1240:
1236:
1235:
1230:
1225:
1219:
1217:
1213:
1209:
1205:
1201:
1197:
1193:
1189:
1180:
1176:
1167:
1156:
1144:
1139:
1135:
1131:
1130:
1125:
1121:
1117:
1116:
1111:
1110:
1105:
1100:
1098:
1094:
1090:
1085:
1083:
1082:
1077:
1073:
1069:
1065:
1061:
1057:
1053:
1044:
1037:
1032:
1021:Date and text
1018:
1014:
1012:
1011:
1006:
1002:
1001:
996:
995:
990:
989:
984:
980:
979:
974:
973:Marco Mincoff
970:
969:
963:
959:
958:
951:
948:
943:
939:
935:
934:Thomas Pavier
931:
927:
923:
919:
915:
910:
908:
904:
899:
894:
892:
888:
887:prose history
884:
874:
872:
871:primogeniture
868:
864:
863:
856:
854:
850:
846:
842:
838:
834:
830:
826:
822:
818:
814:
810:
809:
804:
800:
796:
792:
787:
785:
781:
777:
773:
769:
768:Frances Yates
765:
764:
757:
755:
751:
750:
745:
741:
737:
733:
729:
724:
721:
717:
713:
709:
703:
701:
697:
693:
689:
678:
677:
672:
667:
665:
661:
656:
652:
648:
644:
640:
636:
632:
631:
626:
621:
619:
615:
611:
607:
606:Metamorphoses
602:
600:
596:
592:
588:
584:
580:
576:
572:
568:
567:Metamorphoses
557:
556:
555:Metamorphoses
548:
544:
540:
536:
534:
530:
526:
522:
521:Aulus Gellius
518:
514:
510:
506:
502:
498:
494:
493:
482:
480:
476:
472:
468:
467:Jonathan Bate
464:
460:
456:
452:
448:
444:
440:
436:
432:
428:
424:
420:
416:
412:
408:
407:
402:
401:
396:
395:
394:Julius Caesar
390:
387:The story of
375:
373:
369:
365:
361:
357:
352:
350:
346:
342:
338:
337:
332:
325:
324:Nicholas Rowe
321:
316:
312:
309:
304:
300:
298:
294:
290:
289:forged letter
285:
280:
278:
274:
270:
266:
260:
258:
254:
250:
246:
242:
238:
230:
226:
213:
209:
205:
202:
199:
196:
194:
193:Roman Captain
191:
188:
186:
183:
180:
177:
173:
170:
167:
164:
161:
159:
155:
152:
149:
146:
142:
139:
136:
132:
129:
126:
123:
120:
117:
114:
111:
108:
107:
100:
98:
94:
93:Victorian era
90:
86:
84:
80:
76:
72:
68:
66:
65:revenge plays
62:
58:
54:
53:
45:
44:
39:
34:
30:
26:
22:
9526:(soundtrack)
9521:
9508:
9500:
9491:Revenge play
9476:George Peele
9434:
9431:" (2001; TV)
9419:
9411:
9390:
9382:
9376:
9370:
9364:
9358:
9296:
9295:
9212:(son-in-law)
9206:(son-in-law)
9144:Susanna Hall
9085:
9074:Institutions
9053:
8898:Coat of arms
8891:Translations
8883:
8879:Bibliography
8846:To the Queen
8844:
8837:
8819:
8812:
8804:
8797:
8790:
8783:
8775:
8768:
8761:
8754:
8747:
8740:
8733:
8724:
8716:
8709:
8702:
8695:
8688:
8680:
8673:
8666:
8639:
8632:
8625:
8618:
8604:
8566:Performances
8510:Second Folio
8478:
8471:
8462:
8455:
8447:
8440:
8433:
8424:
8417:
8412:
8405:
8397:
8390:
8370:
8364:
8363:
8356:
8349:
8342:
8335:
8328:
8321:
8314:
8307:
8300:
8280:
8272:
8265:
8258:
8251:
8244:
8236:
8229:
8222:
8215:
8208:
8201:
8194:
8187:
8180:
8173:
8166:
8099:
8092:
8083:
8077:VoegelinView
8076:
8064:
8060:
8052:Connotations
8050:
8044:
8032:
8019:
8004:
7991:
7977:
7963:
7959:
7952:
7943:
7939:
7932:
7925:
7921:
7914:
7910:
7903:
7893:
7889:
7882:
7878:
7867:
7863:
7856:
7852:
7845:Connotations
7843:
7837:
7828:
7824:
7817:
7810:
7806:
7799:
7789:
7785:
7776:
7767:
7760:
7750:
7743:
7734:
7730:
7723:
7719:
7710:
7706:
7695:
7691:
7684:
7680:
7671:
7667:
7660:
7651:
7647:
7640:
7630:
7626:
7619:
7612:
7608:
7598:
7587:
7583:
7579:
7575:
7564:
7560:
7549:
7545:
7538:
7532:
7523:
7519:
7512:
7508:
7501:
7491:
7485:VoegelinView
7484:
7474:
7470:
7461:
7454:
7447:
7443:
7437:
7433:
7420:
7416:
7406:
7402:
7391:
7387:
7380:
7376:
7367:
7363:
7356:
7352:
7345:
7341:
7332:
7328:
7321:
7312:
7308:
7304:
7289:
7284:
7277:
7267:
7260:
7248:
7244:
7237:
7230:
7223:
7212:
7205:
7198:
7194:
7185:
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7082:Jowett, John
7078:Taylor, Gary
7067:
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7057:Jowett, John
7053:Taylor, Gary
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6916:Editions of
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6646:the original
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6615:the original
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6584:the original
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6525:
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6502:
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6486:The Guardian
6484:
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6098:the original
6091:
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6061:Metro Weekly
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6030:
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5950:The Guardian
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5885:the original
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5848:The Guardian
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5813:
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3349:Sunday Times
3348:
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2642:feudal Japan
2633:subconscious
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2604:Central Park
2589:
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2533:Centre Stage
2525:
2520:J. C. Trewin
2515:
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2506:Vivien Leigh
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2072:
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2000:gods of Rome
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1991:
1982:
1978:
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1934:
1932:
1911:
1906:
1902:
1895:alliteration
1891:
1886:
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1878:
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1844:
1838:
1832:
1814:
1794:
1789:
1783:
1780:Thomas Percy
1721:
1715:
1701:
1693:
1691:
1686:
1662:
1658:film version
1654:Off-Broadway
1650:Julie Taymor
1647:
1622:
1620:
1613:
1609:
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1593:
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1288:contractions
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1054:is found in
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214:, Goths etc.
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9551:1590s plays
9404:Adaptations
9250:WikiProject
8937:The Theatre
8923:Handwriting
8749:The Puritan
8540:Characters
8505:First Folio
8473:Richard III
8253:The Tempest
8013: 1760
7238:Shakespeare
6682:21 November
6652:21 November
6621:21 November
6590:21 November
6451:21 November
6424:21 November
6104:21 November
6067:21 November
6039:21 November
5871:"Review of
5732:21 November
5705:21 November
5677:21 November
5642:21 November
5615:21 November
5228:, 41 (1988)
4809:21 November
4508:Queen's Men
4367:Metz (1975)
4110:First Folio
4018:as Tamora,
4008:BBC Radio 3
3994:. In 1953,
3874:Jane Howell
3837:Neeraj Kabi
3779:, starring
3599:Michael Gow
3560:blank verse
3511:, starring
3474:Berlin Wall
3466:Third Reich
3432:as Tamora,
3416:John Barton
3405:First Folio
3372:as Tamora,
3362:Walter Hudd
3329:Peter Myers
3279: 1852
3127:Adaptations
3093:Peter Stein
3026:Peter Macon
3016:, starring
2889:known as a
2866:Lucy Bailey
2840:as Tamora,
2802:Antony Sher
2773:as Tamora,
2749:, starring
2743:Mark Rucker
2729:as Tamora,
2706:Alan Scarfe
2704:as Tamora,
2696:, starring
2667:as Tamora,
2657:Trevor Nunn
2629:imagination
2618:as Tamora,
2610:, starring
2596:Joseph Papp
2500:as Tamora,
2451:as Tamora,
2441:The Old Vic
2346:Performance
2298:soliloquies
2286:Anker Smith
1716:First Folio
1642:Thomas Kirk
1627:A. L. Rowse
1595:Richard III
1532:T. S. Eliot
1438: 1595
1397:First Folio
1333:R.A. Foakes
1280:Gary Taylor
1192:Derby's Men
1173: 1588
1162: 1586
1153:, and that
1151: 1590
918:Cluer Dicey
720:battlements
563: AD 8
423:Justinian I
200:Second Goth
158:Roman noble
43:First Folio
9540:Categories
9436:The Hungry
9416:(1985; TV)
9306:Characters
9174:Mary Arden
9158:(daughter)
9146:(daughter)
9022:Bardolatry
8932:King's Men
8874:Birthplace
8561:Chronology
8480:Henry VIII
8407:Richard II
8399:Edward III
8309:Coriolanus
7133:(editor),
6890:South Park
6781:The Hungry
6673:On Screen"
6515:8 February
6492:8 February
5956:26 October
5928:26 October
5891:26 October
5854:26 October
5826:26 October
5767:26 October
5586:26 October
5166:16 January
4512:Paul's Men
4441:31 January
4030:References
4014:as Titus,
4002:as Titus,
3957:South Park
3880:as Titus,
3847:Television
3824:The Hungry
3783:as Titus,
3653:Taylor Mac
3515:as Titus,
3480:, and the
3428:as Titus,
3368:as Titus,
3333:Andronicus
3233:James Quin
3216:Drury Lane
3089:Red Guards
3081:Mao Zedong
3020:as Titus,
2920:Shun Oguri
2878:Laura Rees
2836:as Titus,
2769:as Titus,
2725:as Titus,
2700:as Titus,
2663:as Titus,
2620:Moses Gunn
2614:as Titus,
2496:as Titus,
2457:Jane Bacon
2447:as Titus,
2321:figurative
2024:ll.434–440
1986:traitorous
1963:patricians
1752:John Upton
1679:Authorship
1606:Cordelia's
1564:Mel Brooks
1373:bad quarto
1284:stylometry
1124:Thomas Kyd
1120:Andronicus
1104:Ben Jonson
947:W. W. Greg
821:Massagetae
801:, who, in
797:, King of
763:Coriolanus
716:drawbridge
651:Chrysippus
641:, King of
618:her father
585:, marries
545:(1637) by
419:Theodosius
411:Coriolanus
406:Coriolanus
372:starvation
308:mixed-race
257:sacrifices
197:First Goth
174:Aaron – a
156:Æmilius –
103:Characters
79:Roman army
9481:Philomela
9384:Thyestes
9204:John Hall
9194:(brother)
9182:(brother)
9114:(replica)
9054:Star Trek
9042:Memorials
9037:Influence
9027:Festivals
8969:Sexuality
8959:Portraits
8954:New Place
8806:Ur-Hamlet
8742:Mucedorus
8652:Apocrypha
8392:King John
8383:Histories
8330:King Lear
8293:Tragedies
8189:Cymbeline
8095:Version).
7498:Kott, Jan
7381:Criticism
7215:(London:
6169:18 August
5922:The Times
5880:The Times
5042:cite book
4492:John Lyly
4035:Citations
3864:a version
3817:In 2017,
3736:The 1973
3721:In 1969,
3642:Purgatory
3631:Cantonese
3623:Titus 2.0
3612:golliwogg
3608:blackface
3603:John Bell
3499:In 1989,
3470:Stalinism
3414:In 1981,
3383:The Times
3242:John Rich
3208:John Bell
3077:Qiping Xu
3052:In 2013,
3032:In 2011,
3004:In 2007,
2983:Handelian
2972:The Times
2962:The Times
2924:surtitles
2887:Colosseum
2846:Eve Myles
2842:Joe Dixon
2784:In 1995,
2741:In 1988,
2723:Brian Cox
2682:decadence
2677:John Wood
2655:In 1972,
2650:Symbolism
2608:Manhattan
2581:swastikas
2537:Baltimore
2388:Vespasian
2306:Brechtian
2226:Eve Myles
2195:2.4.11–57
2153:, upon a
2043:Cimmerian
2010:innocence
1974:integrity
1899:vocatives
1648:Director
1601:King Lear
1553:defended
1540:its own.
1500:Although
1164:. In his
960:) as did
926:copyright
811:, courts
736:Byzantium
637:, son of
575:Pandion I
571:Philomela
517:Herodotus
269:Roman law
265:betrothed
212:Plebeians
189:Messenger
40:from the
9502:Gorboduc
9486:Thyestes
9240:Category
9188:(sister)
9176:(mother)
9170:(father)
8682:Cardenio
8571:Settings
8519:See also
8442:Henry VI
8413:Henry IV
8159:Comedies
8038:LibriVox
7597: .
7580:Pericles
7436:again",
7167:Gorboduc
6557:Playbill
6137:Archived
5820:Archived
5761:Archived
5671:Archived
5580:Archived
4503:Campaspe
3660:Musicals
3593:and the
3585:and the
3575:Brisbane
3407:text by
3087:and the
2891:velarium
2559:and the
2317:metaphor
2294:rhetoric
2260:The Swan
2239:metabolé
2211:conceits
2193:—
2171:Cerberus
2050:metaphor
2022:—
2002:forefend
1959:nobility
1918:Language
1862:stresses
1625:series,
1583:Jan Kott
1465:Longleat
1417:prompter
1257:Henry VI
1115:Jeronimo
1068:The Rose
914:chapbook
860:Life of
833:Herodian
761:Life of
688:decemvir
671:Verginia
635:Thyestes
630:Thyestes
627:'s play
599:tapestry
527:, Livy,
463:Plutarch
451:Lucretia
433:, after
331:deranged
291:, which
229:Gravelot
220:Synopsis
208:Soldiers
204:Senators
9517:Jan Vos
9447:Related
9351:Sources
9324:Lavinia
9032:Gardens
8908:Editors
8711:Locrine
8704:Fair Em
8536:Henriad
8435:Henry V
8344:Othello
8337:Macbeth
7219:, 1879)
6642:Review"
6611:Review"
6445:Review"
6418:Review"
6396:Blasted
6301:The Era
6122:"RSC's
5726:Review"
5636:Review"
5606:(2006)"
5107:2870725
3853:Yle TV1
3762:A 1997
3705:in the
3589:by the
3311:The Era
3206:, from
3177:Jan Vos
3097:Fascism
3012:at the
2511:Macbeth
2325:imagery
2173:at the
2135:sampler
2115:Titan's
2012:in all,
1967:justice
1864:in the
1845:against
1560:Marlowe
817:Tomyris
795:Latinus
791:Lavinia
655:Mycenae
529:Tacitus
485:Sources
447:Tarquin
383:Setting
349:Revenge
336:Revenge
273:treason
249:fanfare
241:tribune
237:succeed
135:tribune
77:in the
75:general
57:tragedy
9513:(1590)
9505:(1561)
9464:Themes
9439:(2017)
9424:(1999)
9367:26 BC)
9333:Lucius
9330:Marcus
9318:Tamora
9229:† Lost
9140:(wife)
9131:Family
9004:Legacy
8576:Scenes
8316:Hamlet
7873:
7701:
7593:
7570:
7555:
7428:
7397:
7297:
7287:," in
7017:(ed.)
6991:(ed.)
6981:(ed.)
6954:(ed.)
6944:(ed.)
6927:(ed.)
6537:18 May
6400:Loxias
6143:8 June
5105:
5030:
4102:Quarto
4071:
3944:asides
3932:Taurus
3907:kosher
3577:, the
3505:kabuki
3115:; and
3109:Zagreb
2585:Nazism
2555:, the
2551:, the
2335:Themes
2288:(1793)
2248:ritual
2234:senile
2222:emblem
1955:virtue
1951:honour
1947:themes
1835:(1840)
1766:, and
1673:Bosnia
1669:Rwanda
1617:earth.
1537:Bedlam
1212:Ludlow
1204:plague
1076:quarto
1038:(1594)
1036:quarto
891:ballad
889:and a
853:Saturn
813:Aeneas
808:Aeneid
803:Virgil
799:Latium
712:moated
664:Aerope
660:Hermes
647:Atreus
639:Pelops
625:Seneca
591:Thrace
587:Tereus
583:Procne
443:Caesar
435:Caesar
431:Brutus
403:, and
368:thirst
364:hanged
343:, and
341:Murder
293:frames
277:pardon
9523:Titus
9421:Titus
9379:AD 8)
9321:Aaron
9152:(son)
8994:Grave
8984:Style
8949:Music
8866:works
8831:Poems
8660:Plays
8598:Poems
8150:Plays
8100:Titus
7825:Titus
7346:Style
6299:From
5533:Titus
5103:JSTOR
4786:Titus
4488:Titus
3982:Radio
3936:Aries
3890:Titus
3812:goths
3776:Titus
3740:film
3687:" by
3677:farce
3673:Titus
3550:Venus
3294:Tiber
3189:Titus
3170:Titus
3154:Titus
3132:Plays
2979:'
2819:Titus
2711:Sibyl
2545:Titus
2516:Titus
2404:Titus
2392:Titus
2352:Titus
2177:feet.
2117:face,
2066:Titus
2059:Titus
2054:Titus
1935:Titus
1694:Titus
1610:Titus
1555:Titus
1502:Titus
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